Associate Conservator, Fashion Institute of Technology – Museum at FIT (New York, NY, USA) – PASSED DEADLINE

About Fashion Institute of Technology
The Fashion Institute of Technology (FIT), an internationally renowned college of art and design, business and technology, of the State University of New York, invites nominations and applications for a Associate Conservator for the Museum at FIT.

Job Description
Under the direction of the Museum’s Senior Conservator, the Associate Conservator is responsible for implementing, facilitating and assisting with the physical care, display and conservation of the Museum’s comprehensive costume, accessory and textile collection. The candidate will be responsible for a full range of conservation activities within a museum that maintains a very active acquisition, fashion exhibition, photography and loan schedule, including any special projects as required.

Working closely under the supervision of the Museum’s Senior Conservator, primary responsibilities and duties include but are not limited to:

  • Examining and documenting costume, accessory and textile objects with both condition and treatment reports in the TMS museum collections management system.
  • Performing object treatments, mounting and installation of both historic and contemporary fashion artifacts in support of the Museum’s robust exhibition and publication photography program.
  • Documenting and performing material and scientific analyses and research of objects as required.
  • Documenting, preparing, couriering and installing of both international and domestic loans.
  • Developing and implementing a written Integrated Pest Management (IPM) plan for the Museum, including but not limited to evaluation, coordination and documentation of pest management activities. Coordinating with FIT’s pest control service provider to support and maintain the IPM program.
  • Implementing and maintaining preventive conservation housekeeping methods and practices throughout the Museum’s physical space.
  • In the absence of the Senior Conservator and in co-ordination with the Senior Registrar, attend to any matters relating to Facilities and Security within the Museum.

In the absence of the Senior Conservator, manage day-to-day activities in the conservation department and coordinate the management of conservation staff with the deputy director and other department heads

This is a general description of duties and is not to be construed as all inclusive.

Requirements

  • Master’s Degree in conservation or museum studies, with a minimum of 5 years related professional experience working with a fashion costume and textile collection in a museum setting.
  • Must have strong knowledge of costume and design history and terminology, as well as a demonstrated knowledge of museum and conservation procedures for both costume and textiles.
  • Proficiency in laboratory methods and the use of scientific instruments for examination, analysis, and treatment of costumes, accessories and textiles.
  • Knowledge and proficiency of garment construction and sewing techniques used in textile conservation.
  • Demonstrated experience and ability to make sound decisions and utilize proper judgement when couriering museum loans.
  • Excellent attention to detail, the ability to plan work and meet deadlines without compromising the quality of work performed, and excellent written, verbal, and interpersonal communication skills.
  • Strong ability to work on numerous projects with various staff members required.
  • Excellent organizational and computer skills and a familiarity with and/or ability to learn the TMS museum collections management system.
  • Ability to learn, adapt and keep current with the latest developments in the conservation practice.

Additional Information

  • This is a bargaining unit position grade 93
  • 35 hours per week, Monday to Friday

Application Instructions
In order to be considered for the position, you must submit the following documents online:

  • Resume
  • Cover letter
  • A list of three references with telephone numbers and email addresses

To apply online, please visit: www.interviewexchange.com/jobofferdetails.jsp?JOBID=90463.

Please note that due to the high volume of applications we receive, we are unable to contact each applicant individually regarding his or her application status.

For more information about FIT, please visit FIT’s website at: www.fitnyc.edu.

FIT is firmly committed to creating an environment that will attract and retain people of diverse racial and cultural backgrounds. By providing a learning and working environment that encourages, utilizes, respects, and appreciates the full expression of every individual’s ability, the FIT community fosters its mission and grows because of its rich, pluralistic experience. FIT is committed to prohibiting discrimination, whether based on race, color, national origin, sex, gender, gender identity, religion, ethnic background, age, disability, marital status, sexual orientation, military service status, genetic information, pregnancy, familial status, citizenship status (except as required to comply with law), or any other criterion prohibited by applicable federal, state, or local laws. FIT is committed to providing equal opportunity in employment, including the opportunity for upward mobility for all qualified individuals. Applications from minorities, women, veterans, and persons with disabilities are encouraged. Inquiries regarding FIT’s non-discrimination policies may be directed to the Affirmative Action Officer/Title IX Coordinator, 212 217.3360, titleix@fitnyc.edu.

CALL FOR SUBMISSIONS – STASH Flash V Storage Tips Session

STASH_logoTo complement AIC’s 46th Annual Meeting conference theme, the 2018 STASH Flash Storage Tips session will focus on the interplay between the material composition of artifacts and the materials chosen for the construction of storage and support solutions. The program covering storage solutions for all collection types has been scheduled as part of the Collection Care session and will be followed by additional talks related to storage rehousing. The program will utilize a lightening round or “Tips” format as well as guided, audience participatory discussion.  We are calling for contributions of short (5 minute) tips on the following themes:

  • An item’s composition will affect the materials chosen for storage as well as the design. How is your storage solution guided by the relationship between collection materials and storage materials?
  • Quality materials appropriate for long-term storage are expensive. How have you adapted economical non-archival materials to make them safe for use in a storage solution?
  • Do you have a tips on a new material that will expand our range of choices for storage?
  • Innovative storage solutions for individual artifacts or collection groups that do not conform to either theme will be accepted if space allows.

Presenters will be asked to show up with their solution in a ready format for uploading to the STASH website after the conference.

To submit your ideas please send a short abstract including the following information to Rachael Arenstein (rarenstein@conservation-us.org) or Lisa Goldberg (lgoldberg@stny.rr.com) by December 22, 2017.

Name:
Institution/Affiliation/Title:
Email:
Object/collection type:
And a description of approx. 150 words on the project

Thank you from the session organizers,

  • Lisa Goldberg, STASH Editorial Committee Chair
  • Rachael Arenstein, AIC e-Editor
  • Karen Pavelka, Collection Care Program Chair
  • Gretchen Guidess, Collection Care Program Committee

Assistant Textile Conservator (Shelburne, VT, USA)

*** THIS POSITION HAS BEEN FILLED***

SHELBURNE MUSEUM

  • One-year Assistant Textile Conservator position at Shelburne Museum, Shelburne, VT
  • Full Time, 12 month Temporary Assignment, Benefits Eligible
  • This position is grant funded by Institute of Museum and Library Services.

Essential Job Functions:

  • Perform a condition survey of 184 commemorative handkerchiefs using an established survey form,
  • Perform an examination and propose actions to stabilize a needlework show cover on an armchair,
  • Examine and undertake conservation treatment of 53 samplers
  • Conduct practical research to inform conservation treatment related to stain removal and reduction on hooked rugs using a non-collection rug with dye bleed as a test subject
  • Produce a white paper on the practical research and contribute occasional posts and updates for Shelburne Museum’s member newsletter and social media platforms related to their work.
  • Examine and undertake conservation treatment 14 hooked rugs from the collection.

For all treatments, the textile conservator will take documentary photographs, amend existing condition information and treatment proposals and write treatment reports.

The conservator will become familiar with established lab procedures for health and safety and maintain conservation documentation and treatment files and the museum’s collections management database, Mimsy xg.

Requirements:

  • Master’s Degree in Conservation or equivalent training
  • Textile conservation treatment experience, a minimum of one year beyond conservation training

Special Requirements:

  • US citizen or holding a current US work visa
  • Conservation specialty in textiles
  • Good communication skills; works well as a member of a team and independently
  • Flexible and adaptable with a positive attitude
  • Comfortable using Microsoft Office, Adobe Photoshop and Adobe Bridge. Prior experience with collections management databases, especially Mimsy xg, helpful.
  • Member of AIC, IIC or other appropriate conservation professional organization.

Compensation and Benefits:

$19.23/hr., Spectacular working environment; Paid Time Off; committed, friendly co-workers; discount at the Museum Store and Café; passes to the museum to share with friends and family; and reciprocal benefits at regional museums and attractions. Funding to attend AIC annual meeting.

To Apply:

Visit our website, https://shelburnemuseum.org/employment/#assistant-textile-conservator and download an application. Forward completed application along with cover letter, resume and three letters of recommendation to human_resources@shelburnemuseum.org or Human Resources, Shelburne Museum, P.O. Box 10, Shelburne, VT 05482, USA.

Anticipated start date is April, 2018.

ECPN Interviews: Electronic Media Conservation with Alexandra Nichols

To promote awareness and a clearer understanding of different pathways into specializations that require particular training, the Emerging Conservation Professionals Network (ECPN) is conducting a series of interviews with conservation professionals in these specialties. We kicked off the series with Chinese and Japanese painting conservation, and now we are focusing on practitioners in AIC’s Electronic Media Group (EMG). These conservators work with time-based media, which can include moving components, performance, light or sound elements, film and video, analog or born-digital materials. We’ve asked our interviewees to share some thoughts about their career paths, which we hope will inspire new conservation professionals and provide valuable insight into these areas of our professional field.

In our first EMG interview, we spoke with Nick Kaplan. Now for our second interview from the EMG series, we turn to with Alexandra Nichols, currently a Sherman Fairchild Foundation Fellow in the conservation of time-based media and installation art at The Metropolitan Museum of Art. From 2016-2017, she was a Samuel H. Kress Foundation Fellow in Time-based Media Conservation at the Solomon R. Guggenheim Museum. She earned her Master’s of Art Conservation from the Winterthur/University of Delaware Program in Art Conservation (2016) where she concentrated on the conservation of modern and contemporary objects.


ECPN: Please tell us a little bit about yourself.

Alexandra Nichols (AN): I received my Master’s of Conservation from Winterthur/University of Delaware Program in Art Conservation in 2016, where I concentrated on the conservation of modern and contemporary objects. I recently completed a one-year fellowship as a Samuel H. Kress Foundation Fellow in Time-based Media Conservation at the Solomon R. Guggenheim Museum, where I was working under Joanna Phillips, the Guggenheim’s Senior Conservator of Time-based Media. Just a few weeks ago, I joined the Metropolitan Museum of Art as a Sherman Fairchild Foundation Conservation Fellow, where I’ll be working with the Met’s collection of time-based media and installation art.  

ECPN: How were you first introduced to conservation, and why did you decide to pursue conservation?

AN: After obtaining my undergraduate degree in art history, I moved to London and landed a job as an executive assistant at the British Museum. While there, I visited the Hirayama Studio, the British Museum’s conservation lab dedicated to the care and treatment of East Asian paintings and works on paper. It’s a beautiful, peaceful room, with tatami mats and walls lined with brushes and different types of paper. I loved how the conservators could develop such a close, tactile relationship with the artworks, and how the treatments were carried out with respect for the cultures that created the works. This led me to seek out internships where I could gain experience in conservation.

ECPN: Of all specializations, what contributed to your decision to pursue electronic or time-based media conservation?

AN: I’m really fascinated by the wide range of materials and methods utilized by contemporary artists. Something I love about time-based media art is its complexity and variability. An artwork may have multiple channels of video, require a very specific placement in the gallery, or be shown differently based on the size or shape of the room.

My training is in objects conservation, focusing on the conservation of contemporary art. During the course of my graduate studies, none of the North American programs offered coursework in time-based media*. Thus, I was able to explore working with time-based media during my graduate internships at the Hirshhorn and the Museum of Modern Art. I’ve been pleasantly surprised that many of the time-based media pieces I’ve worked on incorporate sculptural elements, so my graduate training has been helpful in ways I didn’t expect. Learning how these objects should be placed in an installation and their relationship to electronic and audiovisual elements is really intriguing.

*The Institute of Fine Arts (IFA) at New York University is implementing a curriculum geared towards the conservation of time-based media, and is accepting applications this this year for Fall 2018 matriculation.  http://www.nyu.edu/gsas/dept/fineart/conservation/time-based-media.htm

Alexandra and Contract Video Engineer Maurice Schechter conduct a quality check (QC) on a video file. [Photo: Joanna Phillips]
Alexandra and Contract Video Engineer Maurice Schechter conduct a quality check (QC) on a video file. [Photo: Joanna Phillips]
ECPN: What has been your training pathway?  Please list any universities, apprenticeships, technical experience, and any related jobs or hobbies.

AN: I’ve always had an interest in computers and electronics. In middle school and high school, I learned the programming language C, built computers as a hobby, and took courses in video editing and digital photography as part of my undergraduate degree.

I’m originally from the Washington, DC area, and after deciding to pursue conservation, I completed pre-program internships and contracts at various museums in the Smithsonian system, including the Freer and Sackler Galleries, the Museum Conservation Institute, and the National Museum of African-American History and Culture.

In 2013, I began my graduate studies at the Winterthur/University of Delaware Program in Art Conservation, where I specialized in the conservation of modern and contemporary objects. As a graduate student, I completed a summer internship at the Hirshhorn Museum and Sculpture Garden, preparing time-based media works in their collection for the 2014 exhibition Days of Endless Time. During my third-year internship at the Museum of Modern Art in New York, I collaborated with Kate Lewis and Amy Brost to treat a pearlescent bead-adorned cathode ray tube television set by Nam June Paik and Otto Piene.

Additionally, the chance to work with Joanna Phillips at the Guggenheim has been thrilling—there aren’t many opportunities to learn about time-based media conservation in the American graduate conservation programs, so emerging conservators must gain expertise through internships and fellowships. However, this is changing soon — The Institute of Fine Arts (IFA) at New York University is implementing a curriculum geared towards the conservation of time-based media, and is accepting applications this year for Fall 2018 matriculation (link: https://www.nyu.edu/gsas/dept/fineart/conservation/time-based-media.htm). I’ll be utilizing the skills I’ve developed over the past year at my current fellowship working with the time-based media art collection at The Metropolitan Museum of Art.

ECPN: Are there any particular skills that you feel are important or unique to your discipline?

AN: Strong documentation skills are important in any specialization, but this is especially true for time-based media. The inherent variability of time-based media requires extensive research and documentation to ensure that it can be installed correctly in the future. It’s also important to know about the history of video production, including film history and the development of various formats. Foundational knowledge of video and other technologies is also crucial and has to be updated continuously, since technology is always evolving. Without this knowledge, media conservators cannot seek out and engage external specialists and vendors who can provide specific technical expertise

ECPN: What are some of your current projects, research, or interests?

AN: I am just getting started at The Met, but I am currently working with Nora Kennedy and Meredith Reiss to help document the 250 time-based media artworks in The Met’s collection. This includes updating questionnaires that are sent to artists during the acquisition process, which help us learn more about the production history and intended exhibition of the artwork, and researching past exhibitions to create retroactive iteration reports. The Met has had a Time-based Media Working Group for many years now, and I am looking forward to collaborating with its members as I conduct my research.

Image of a Skype interview with an artist, in which Alexandra and Contract Video Engineer Maurice Schechter discuss the audio channels of an artist-provided video file. [Photo: Alexandra Nichols]
Image of a Skype interview with an artist, in which Alexandra and Contract Video Engineer Maurice Schechter discuss the audio channels of an artist-provided video file. [Photo: Alexandra Nichols]
ECPN: In your opinion, what is an important research area or need in your specialization?

AN: I think the acquisition and display of virtual reality (VR) will pose a number of challenges for conservators in the coming years. Artists are increasingly experimenting with these types of works—Jordan Wolfson exhibited a VR work in the Whitney Biennial this year, for example—but as far as I know, no museums have acquired a VR piece yet. This technology is so new and is still being developed, and as a result, there’s so much potential for the obsolescence of file formats and hardware.

ECPN: Do you have any advice for prospective emerging conservators who would like to pursue this specialization?

AN: Try playing around with how to shoot and edit your own video in Final Cut Pro or Premiere! It will teach you about digital video formats and give you some insight into the artist’s process. And, don’t be afraid to reach out to conservators you admire to learn more about what they do!

ECPN: Please share any last thoughts or reflections.

AN: Supervised training under established media conservators is essential to the development of one’s skills as an emerging time-based media conservator. Fellowships and internships provide practical experience with real-life museum scenarios that is not possible to gain through readings or coursework. I am extremely grateful to the Samuel H. Kress Foundation and the Sherman Fairchild Foundation for providing me with opportunities to hone my expertise at the Guggenheim and The Met.

 

*Featured photograph: Alexandra examines a MiniDV tape containing an artwork while working at the Solomon R. Guggenheim Museum. [Photo: Kris Mckay]

 

ECPN Fall Webinar Announcement – Showcasing Your Work: Preparing and Maintaining a Conservation Portfolio

The Emerging Conservation Professionals Network (ECPN) is pleased to announce our upcoming webinar, “Showcasing Your Work: Preparing and Maintaining a Conservation Portfolio,” taking place on Tuesday, November 14th from 12:30-1:30 pm EST.

A well-conceived and eye-catching portfolio can be crucial for emerging conservation professionals to progress in the field. But when is a digital portfolio appropriate versus a hard-copy portfolio? What are the advantages and disadvantages of each? How should your portfolio evolve as you progress in your career? This Webinar will cover the creation and use of digital and hard-copy portfolios in various scenarios and early-career stages, from pre-program candidate to graduate student and post-graduate.

ECPN has invited two speakers to provide different perspectives on this topic. Susan Heald, Textile Conservator at the National Museum of the American Indian, will discuss her experience reviewing portfolios as part of internship and fellowship applications. Gwen Manthey, a paintings conservator who has worked in both private practice and museums, will speak about digital portfolios, including the practicalities of compiling and maintaining one.

ECPN is seeking submissions for the Q&A session following the speakers’ presentations. To submit your questions in advance, please post in the comments section below or send them via email to ecpn.webinar@conservation-us.org. Questions will be accepted until the morning of the webinar, or can be submitted during the presentations via the GoToWebinar platform.

Attendance is free and open to all AIC members. Please register here to watch the webinar. If you are unable to view the program on November 14, or are not a member of AIC, the full video will be recorded and uploaded onto the AIC YouTube Channel following the broadcast.

 

Please see below to learn more about our speakers:

SUSAN HEALD has been the National Museum of the American Indian’s textile conservator since 1994, where she has supervised many pre-program interns and post-graduate fellows. Prior to NMAI, she served as the Minnesota Historical Society’s textile conservator, and was a Smithsonian Conservation Analytical Lab postgraduate fellow. She holds an MS in Art Conservation (textile major/objects minor) from the University of Delaware/Winterthur Museum, and a BA in Chemistry and Anthropology from the George Washington University. She served as chair and vice-chair for the AIC Textile Specialty Group (1997-98), and as a board member for the North American Textile Conservation Conference (2004-09).

GWEN MANTHEY is the newly-appointed Contract Interim Paintings Conservator at the Smithsonian American Art Museum and maintains a private practice outside of Philadelphia. Prior positions include Assistant Paintings Conservator at the Museum of Fine Arts (Boston, MA), National Endowment for the Humanities Fellow at the Chrysler Museum of Art (Norfolk, VA), and the Wyeth Fellow for American Art at the Walters Art Museum (Baltimore, MD). A graduate of the Winterthur/University of Delaware Program in Art Conservation (B.A.S, M.S., C.A.S.), she is serving as Program Chair for the Philadelphia Area Conservation Association and a mentor for ECPN-HBCU Mentor-Pilot Program.

 

— Posted on behalf of ECPN Webinar Coordinator Jen Munch (ecpn.webinar@conservation-us.org).

Conservation technician (Tulsa, OK, USA)

*** THE GILCREASE MUSEUM IS NO LONGER ACCEPTING APPLICATIONS.
A CANDIDATE HAS ALREADY BEEN IDENTIFIED. ****

Gilcrease Museum/The University of Tulsa
Permanent Full-Time/Hourly Position

POSITION SUMMARY
The Conservation Technician reports to the Chief Conservator and performs a variety of duties in connection with the preservation and management of the museum’s collection and ensures that proper procedures are followed with regard to the care, conservation registration and documentation files, and exhibition of those works. The duties performed are based and will be revised in accordance with the American Institute for Conservation of Historic and Artistic Works (AIC) Requisite Competencies for Conservation Technicians and Collections Care Specialists.

CHARACTERISTIC DUTIES

  • Assists with preparation of objects for exhibitions; dust collection items on exhibit and monitor for condition changes.
  • Under the direction of the Conservator, prepares safe housing for collection items, including constructing boxes, and supports, as needed.
  • Tracks and moves collections to and from Conservation, in conjunction with Registration staff.
  • Assists in all areas of the Integrated Pest Management (IPM) Program including trap collection and replacement on an established schedule; pest identification and monitoring.
  • Maintains the conservation lab (tidiness, workstation order, chemical safety), materials and supply inventory management in collaboration with the Chief Conservator.
  • Provides administrative assistance in the daily collection care and operation of the lab.
  • Monitors and reports on activities concerning the Conservation lab when Conservators are not present.
  • Responsible for inventory and maintenance of Emergency Preparedness kits.
  • Assists in the creation, organization, and maintenance of conservation files for the collection materials.
  • Works with volunteers and interns performing conservation related activities including cleaning and rehousing. Oversees workflow, schedules, and trains other support staff, students, interns, and volunteers in object handling procedures.
  • May serve as a research assistant to the Conservators.
  • Writes condition reports and treatment reports, as required.
  • Performs other duties as assigned.

MINIMUM REQUIRED QUALIFICATIONS

  • Bachelor’s degree in art, science, chemistry or a related field and at least one year of experience relevant to the position.  Knowledge of conservation principles and techniques; ability to handle delicate or valuable objects and hazardous materials with care; must have excellent attention to detail, organizational skills, and proven track record of working as a team member; ability to neatly construct housing units for museum collections; familiarity with conservation supplies and techniques used; ability to write clearly, meet deadlines, follow specific instructions, ask for clarification or assistance when needed, and to work and communicate effectively with all museum staff.
  • Proficient in Microsoft Office Suite and skilled with databases and standard office procedures, equipment, and use of a digital camera.

Preferred Qualifications: Proficiency in The Museum System (TMS) or other collections database software. Interest in pursuing a career in Conservation an asset.

Physical Requirements: Dexterity enough to use a keyboard and telephone; occasional lifting, carrying, pushing, and pulling up to 50 pounds; may be subject to extended periods of walking, standing, sitting, reaching, balancing, bending, kneeling, handling, feeling, climbing, and twisting; and vision, speech, and hearing sufficient to perform the essential tasks.

APPLICATION INFORMATION
Please submit a cover letter, résumé, and contact information for three references to:  The University of Tulsa, Office of Human Resources, 800 S. Tucker Drive, Tulsa, OK  74104, or email to tujobs@utulsa.edu or fax to (918) 631-3543.  The review of applications will commence immediately and will continue until the position is filled.

The University of Tulsa is an Equal Opportunity Employer Disabled/Veteran.

Layer by Layer Conference Review

VDR-Abstract-Schicht-CoverFrom June 9th – 11th 2016, an interdisciplinary conference for conservators, curators, and art scholars was held in Kassel, Germany, organized by the paintings specialty group of the German Association of Conservators (Verband der Restauratoren VDR) and the Museum Landscape Hessen Kassel (Museumslandschaft Hessen Kassel). The conference’s topic “Layer by Layer – The significance and aesthetic of the surface” (Schicht um Schicht – Die Bedeutung und Aesthetik der Oberflaeche) aimed to give an extended view on various types of objects focusing on surfaces in all their facets and raised thought-provoking questions. What importance do we ascribe to the original surface when we look at an object? What impact do irreversible conservation treatments have on our aesthetical perception of an object? How do conservators, curators, artists, and visitors observe, describe and interpret surfaces?

On the one hand, observations and interpretations happen through visual and scientific examination, based on experience and analysis of conservators and scientists. On the other hand art historians analyze objects and their surfaces in their historical context. Perception psychologists who also participated noted that these kinds of different interpretations are not just a result of a profession or particular methods, but are also influenced by individual interests and especially individual perception.

The title of the conference already implied that the talks wouldn’t just scratch the surface, thus not just give a superficial overview of an objects surface, but rather go in depth. Presentations and following conversations discussed how various layers and sometimes damages within them affect the character of the surface – intended or not.

Furthermore, the variety of presented objects, speakers from different fields of conservation and speakers from other disciplines showed the broad range and importance of the topic: surface. The conference offered a platform for participating experts from various fields to discuss their experience and opinions. However, it also showed us that we will continue to struggle with defining and describing specific appearances, causes and effects as we face the limitations of our individual perceptions and terminology. Lastly, the conference highlighted the importance of continuing conversations across fields, where accurate and clear terminology can be incredibly beneficial. Ultimately, improved communication and understanding will benefit the object, its preservation and presentation, and is nevertheless essential for our decision making process.

 As most of the conference was held in German, this English summary has been provided to encourage and support a transnational exchange of ideas and information. The following outline is based on the conference’s booklet with its short abstracts, notes taken by the author of this post and a German review written by Cornelia Peres and Dirk Welich. For more specific information please contact info@restauratoren.de.

Outline

  • Anne Harmssen: About finiteness of immaculately beautiful surfaces
  • Nathalie Baeschlin: Fragile and precious – tense painting surfaces of the 20th century
  • Dr. Helmut Leder: Perception of art from an empirical aesthetic research point of view. Is it a question about style?
  • Dietmar Wohl: Assertions about surfaces of paintings in the theories of conservation and restoration
  • Dr. Martina Sitt: Still not close enough? Problems about exchange of knowledge between art history and conservation
  • Sybille Schmitt: Systematic tools and resources to determine and evaluate surface and structure on baroque paintings
  • Cornelius Palmbach: Active Thermography – visualization of damages and hidden structures in paint layers and other coated surfaces
  • Theresa Braeunig: Crucifix – reconstruction and composition of a late Gothic work using 3D-technology
  • Susanne Litty, Mira Dallige-Smith: Brilliant sh(r)ine – the complexity of original and alteration shown on a North Indian miniature-altar as an example
  • Thomas Kraemer: Changes in a paintings surface through thinning or removing varnishes. An example from the Gemaeldegalerie Alte Meister in Kassel
  • Joerg Klaas: “Like greyblue painted surfaces” – Alterations of ultramarine containing paint layers in easel paintings
  • Linda Haselbach, Dr. Albrecht Pohlmann: Efflorescence, blanching, protrusions – Fatty acid dissociation and lead soap building in oil studies by Adolf Senff
  • Andreas Krupa: Reconstruction as a conservation treatment? – Sheen and color of a furniture surface with mahogany-appearance
  • Andreas Hoppmann: Varnish separation on a triptych by Bartholomaeus Bruyn the Elder
  • Sabine Formanek: A surface that is polished with “chalk and water and a piece of felt till it appears like glass” restoration of a tabletop with a transfer decoration
  • Jonathan Bikker: What’s so funny about impasto? Arnold Houbraken’s lampooning of Rembrandt’s use of texture in perspective; Talk given in English
  • Stefanie Lorenz: Conservation of River scenery by Jacob Philipp Hackert, 1805. A method for a layer selective varnish removal
  • Babett Forster, Romy Koenig-Weska: The portrait as a palimpsest. Layer by layer in scholar portraits from Jena
  • Felix Muhle: Delicate sheen: Polished white bole in abbot Anselm II.  “Wohncabinet” in cloister Salem, Southern Germany
  • Eva Bader: Surface cleaning of the installation Barraque D’Dull Odde by Joseph Beuys at the Kaiser Wilhelm Museum in Krefeld, Germany
  • Franziska Bolz: Shoe-paste, sand and fire – artificial aging as a part of Tingatinga-paintings from Tanzania (East Africa)
  • Caroline von Courten: The Photographic Surface as Interface in mixed-media photo-works: Layers of materials, processes and meanings in Ger van Elk’s Dutch Grey, 1983/84
  • Dr. Dietmar Ruebel: Handcraft and machine aesthetic – surfaces as internal memory of 20th and 21st century art
  • Helena Ernst: The Keep by Mike Kelley at the Museum Brandhorst, Munich, Germany

The conference opened with an introduction given by Justus Lange, who demonstrated how different surfaces are perceived nowadays and how they have been perceived in the past. By discussing initial ontological issues of surfaces, he showed how relative and subjective the appraisal process of a surface can be and thus, prefaced the first session of the three-day long, interdisciplinary conference.

Anne Harmssen: Von der Endlichkeit makellos schoener Oberflaechen
Anne Harmssen: About finiteness of immaculately beautiful surfaces

Anne Harmssen presented in the first talk of the conference a three dimensional object by contemporary artist Carola Keitel called O 11 (Objekt 11). Her work perfectly represented the conference’s theme and showed how essential the material properties – and therefore surface and texture can be essential for an object’s meaning. Harmssen described Keitel’s meticulous method of treating the object’s metal surface, in which she has used a regular trashcan and transformed it to an artwork with an absolute pristine surface. Due to a damage on the object, Harmssen was confronted with the question whether or not and how to repair the damage in an immaculate surface. The artist herself saw the integrity of the piece compromised and hence the object itself destroyed. Harmssen, who is also owner of the object, decided not to follow the artist’s suggestion to grind the entire surface down, therefore recreating a pristine and perfect surface again, but rather decided to conduct a localized treatment. The talk was followed by a discussion as to whether the existence of this particular object is founded on its surface and can only be justified by its immaculate state and whether the object’s integrity and perfection is more important than its history.

Nathalie Baeschlin: Fragil und prezioes – spannungsvolle Gemaeldeoberflaechen des 20. Jahrhunderts
Nathalie Baeschlin: Fragile and precious – “tense” painting surfaces of the 20th century

Following Harmssen, Nathalie Baeschlin presented a paper based on several examples, such as paintings by Picabia and Mondrian and objects of raku ware, where either the fragility of the surface or the entire layer structure can be essential part of the artwork if intended by the artist. For example, she described how Picabia experimented with crackle lacquer and other methods to create intentional fissures through layering. However, her remarks about the surfaces of 20th century paintings and their intended fragility made clear that special properties of a surface can be intrinsic to the object, thus untouchable as an element of its meaning.

Prof. Dr. Helmut Leder: Wahrnehmung von Kunst aus der Sicht der empirischen Aesthetikforschung. Eine Frage des Stils?
Prof. Dr. Helmut Leder: Perception of art from an empirical aesthetic research point of view. Is it a question about style?

Unlike Baeschlin, Prof. Dr. Helmut Leder as well as Dietmar Wohl, focused on the unintentional changes in surfaces and discussed how viewers perceive them. Among other substantial aspects of perception, Leder presented a model of aesthetic processing, in which aesthetic experiences involve five stages: perception, explicit classification, implicit classification, cognitive mastering and evaluation. Leder presented results of perception studies regarding questions of an artist’s style: How long does it take to perceive style? Do we see style as the means of how the art object was created or produced?

Further reading: Leder et al.: A model of aesthetic appreciation and aesthetic judgments, in: British journal of Psychology Vol 95, Issue 4, 2004, pp. 489-508.

Dietmar Wohl: Aussagen in den Theorien der Konservierungs- und Restaurierungswissenschaft zur Oberflaeche von Gemaelden
Dietmar Wohl: Assertions about surfaces of paintings in the theories of conservation and restoration

Dietmar Wohl explained how an increasing “scientification” of conservation and restoration leads to various sub disciplines, each one with its own theories, e.g. practical conservation, conservation history and technical art history.

Prof. Dr. Martina Sitt: Noch nicht nah genug? Problem des Wissenstransfers zwischen Kunstgeschichte und Restaurierung
Prof. Dr. Martina Sitt: Still not close enough? Problems about exchange of knowledge between art history and conservation

Prof. Dr. Martina Sitt illustrated how contributions by conservators in museum and exhibition catalogs in recent years have enriched our knowledge about an artist’s oeuvre. However, incorporation of these contributions within the analysis of a work is often still insufficient. New information and knowledge gained through conservation treatment and examination are often presented as raw data, not communicated well enough and hence difficult to integrate accurately. This unfortunately results in a crux of two different specific terminologies used in two different fields attempting to discuss the same object. Based on paintings by Teniers, van Delen and Gruenewald, Dr. Sitt’s talk discussed possibilities and problems of exchange between the two fields in a very clear and enriching way.

Sybille Schmitt: Systematische Hilfsmittel zur Bestimmung und Bewertung von Oberflaeche und Struktur an barocken Gemaelden
Sybille Schmitt: Systematic tools and resources to determine and evaluate surface and structure on baroque paintings

As Sybille Schmitt could not present her talk in person, a colleague read her paper, which outlined the importance of an accurate terminology when it comes to describing layer structures, especially on a microscopic scale. By drawing an analogy to geomorphology and its terminology used to characterize variances in layer structure and surface, she introduced a helpful toolkit to conservators that both, describes and evaluates surface changes in paint layers. Despite huge differences in scale between microscopic cross sections of paint layers and the earth’s stratigraphy, the comparison of different phenomena created by physical, chemical or biological processes and forces was very persuasive to me. An example, which compared layer deformation caused by lead soap building to geomorphological deformation was fascinating and surprisingly accurate. It remains uncertain, if and when conservators will choose to adopt this toolkit or terminology.

Cornelius Palmbach: Aktive Thermografie – Visualisierung von Schaeden und verborgenen Strukturen an Malschichten und anderen Oberflaechen
Cornelius Palmbach: Active Thermography – visualization of damages and hidden structures in paint layers and other coated surfaces

Cornelius Palmbach gave an impressive overview of an Active Thermography project conducted at the Bern University of applied sciences BFH (Bern, Switzerland). Palmbach used Active Thermography as a non-destructive imaging technique to locate, visualize, and quantify both hidden structures and damages located beneath coated surfaces. Through subtle and periodical warming of an object’s surface, underlying areas that differ in their thermic properties give different responses that can be then detected with an IR-camera (Lock-In thermography). Palmbach presented convincing examples as he illustrated the identification of lifting paint layers, veneer, and plaster.

Theresa Braeunig, Joerg Maxin, Iris Winkelmeyer: Kruzifix! Rekonstruktion und Gestaltung eines spaetgotischen Werkes mittels 3D-Technik
Theresa Braeunig: Crucifix! Reconstruction and composition of a late Gothic work using 3D-technology

Theresa Braeunig discussed the examination of a nearly life-sized, late Gothic crucifix at the Lenbachhaus Munich, Germany. The project also involved the reconstruction and visualization of missing form elements and alterations in color design and the application of modern technology. 3D scanning and 3D printing helped visualizing the object’s appearance with different color designs from different time periods. Her work resulted in an exhibition dedicated to the research results and visualizations.

Further reading: Theresa Braeunig, Joerg Maxin, Iris Winkelmeyer: 3D-Rekonstruktion der Gestaltung eines spaetgotischen Kruzifixes aus Franz von Lenbachs Sammlung, in: Zeitschrift fuer Kunsttechnologie und Konservierung, Vol. 1, 2016, pp. 183-196.

Susanne Litty, Mira Dallige-Smith: Glaenzender Sch(r)ein – die Komplexitaet von Original und Ueberarbeitung am Beispiel eines nordindischen Miniaturaltars
Susanne Litty, Mira Dallige-Smith: Brilliant sh(r)ine -the complexity of original and alteration shown on a North Indian miniature-altar as an example

Susanne Litty described examination results of a miniature shrine in the collection of the Ethnologisches Museum, Berlin, Germany. The core theme to her talk was the difference between original and altered material, and related issues involving treatment-based decisions. The identification of a later application of a high gloss varnish, also known as “Soluble Nylon”, was one of the main challenges.

Thomas Kraemer: Veraenderungen der Bildoberflaeche bei der Duennung oder Abnahme von Firnissen. Ein Beispiel aus der Kasseler Gemaeldegalerie Alter Meister
Thomas Kraemer: Changes in a paintings surface through thinning or removing varnishes. An example from the Gemaeldegalerie Alte Meister in Kassel

Thomas Kraemer presented a treatment of the painting White Hen with Small Cake by Melchior de Hondecoeter, in the collection of the Gemaeldegalerie Alte Meister in Kassel, Germany. Kraemer’s talk focused on a highly solvent sensitive intermediate varnish layer that made the accurate removal and/or thinning of the top varnish layer with organic solvents impossible. Furthermore, the top varnish was discolored and had evolved a bark-like texture. Even though Kraemer had some success using a mastic resin-powder for mechanical varnish removal, he sought further improvement of the cleaning results.

Further reading: Thomas Kraemer: Veraenderungen der Bildoberflaeche bei der Duennung oder Abnahme von Firnissen. Ein Beispiel aus der Kasseler Gemaeldegalerie Alter Meister, in: VDR Beitraege zur Erhaltung von Kunst- und Kulturgut, Vol. 1, 2017, pp. 26-34.

Dr. Joerg Klaas, Dr. Heike Stege: “Wie graublau angestrichene Flaechen” – Die Veraenderungen ultramarinhaltiger Farbschichten in der Tafelmalerei
Dr. Joerg Klaas: “Like greyblue painted surfaces” – Alterations of ultramarine containing paint layers in easel paintings

Dr. Joerg Klaas’ presentation focused on “ultramarine sickness” in paintings. Klaas has worked on this degradation phenomenon for several years and published about it in his dissertation at the TU Munich in 2010/11. Within this project, his research covered the examination of paintings from 1475-1720. The examination of several paintings from this time period and mock-ups indicates that the “ultramarine sickness” is not a chemical discoloration, but rather a separation of pigment and binder that causes ultramarine containing layers to appear opaque and lighter or grey.

Further reading: Dissertation in German

Linda Haselbach, Dr. Albrecht Pohlmann: Ausbluehungen, Weissschleier, Protrusionen: Fettsaeureabspaltungen und Schwermetallseifen in den Oelstudien des deutsch-roemischen Malers Adolf Senff (1785-1863)
Linda Haselbach, Dr. Albrecht Pohlmann: Efflorescence, blanching, protrusions: Fatty acid dissociation and lead soap building in oil studies by Adolf Senff

Haselbach and Pohlmann showed a variety of botanical studies by Adolf Senff, most of them executed in oil on paper. 59 similar studies are in the collection Kunstmuseum Moritzburg in Halle (Saale), Germany. Several studies show varying amounts of degradation on the surface including efflorescence, blanching, and protrusions. Haselbach, who wrote her master’s thesis on this project, discussed possible causes for the types of degradation and suggested different treatment options, such as removal, inpainting, varnishing and preventive methods.

Further reading:

  • Thesis in German
  • Linda Haselbach, Dr. Albrecht Pohlmann: Ausbluehungen, Weissschleier, Protrusionen: Bildung von Schwermetallseifen in den Oelstudien des deutsch-roemischen Malers Adolf Senff (1785-1863), in: VDR Beitraege zur Erhaltung von Kunst- und Kulturgut, Vol. 1, 2017, pp. 7-18.

Andreas Krupa: Rekonstruktion als restauratorische Massnahme? – Glanz und Farbe einer Moebeloberflaeche mit Mahagoni-Optik
Andreas Krupa: Reconstruction as a conservation treatment? – Sheen and color of a furniture surface with mahogany-appearance

Andreas Krupa discussed the difficult conservation treatment of a Biedermeier escritoire (1840, Northern Germany). Cumulative light exposure resulted in a faded and matte appearance of the escritoire that contrasted with other examples of furniture from that time period. These examples were still in good condition and showed a rich, saturated, glossy and Mahogany-red surface. However, several attempts to re-saturate the surface of the escritoire either failed or lead to unsatisfying results. Poor results led Krupa to build a reconstruction following historical models and recipes, gaining unexpected experience and outcomes.

Publication in VDR Beitraege zur Erhaltung von Kunst- und Kulturgut pending.

Andreas Hoppmann: Firnistrennung an einem Triptychon von Bartholomaeus Bruyn der Aeltere – Ein wahrgenommener Gluecksfall
Andreas Hoppmann: Varnish separation on a triptych by Bartholomaeus Bruyn the Elder

Andreas Hoppmann presented one of those rear case studies where a selective varnish removal was conducted. On a Triptych by Bartolomaeus Bruyn (the Elder) a heavily discolored varnish was removed by using an alkaline buffer solution. Conservators were able to separate the top layer of oil-containing varnish from the resinous varnish underneath without damaging lower layers. The selective cleaning revealed a barely discolored resinous varnish layer that was in good condition.

Further reading: Andreas Hoppmann, Firnistrennung an einem Triptychon von Bartholomaeus Bruyn der Aeltere: Ein wahrgenommener Gluecksfall, in: VDR Beitraege zur Erhaltung von Kunst- und Kulturgut, Vol. 2, 2016, pp. 96-101.

Sabine Formanek: Eine Oberflaeche die mit “Kreide und Wasser und einem Stueck Filz solange geschliffen, bis es wie Glas ist” – Die Restaurierung einer Tischplatte mit Umdruckdekor
Sabine Formanek: A surface that is polished with “chalk and water and a piece of felt till it appears like glass” – restoration of a tabletop with a transfer decoration

Sabine Formanek showed her treatment of a table that was designed using an unusual transferware technique (1830, Museum fuer Angewandte Kunst, Vienna, Austria). Formanek described the transfer technique itself, damages and condition issues, and various treatment steps including consolidation, cleaning, filling, inpainting.

Further reading: Die Restaurierung eines Tisches mit Umdruckdekor aus dem Bestand des MAK Wien

Dr. Jonathan Bikker: What’s so funny about impasto? Arnold Houbraken’s lampooning of Rembrandt’s use of texture in perspective; Talk given in English

Dr. Jonathan Bikker from the Rijksmuseum illustrated Rembrandt’s various ways of manipulating paint to create surface texture, such as his early use of the butt-end of his brush or a palette knife, which he used later in his career. Bikker also discussed how Arnold Houbraken, Dutch painter and writer in the Golden Age, criticized Rembrandt for this “rough” manner of painting, which contrasted with the fine and the loose manner exemplified by Frans Hals.

Stefanie Lorenz: Die Restaurierung des Gemaeldes “Flusslandschaft” von Jacob Philipp Hackert – Eine Methode zur schichtenselektiven Firnisabnahme
Stefanie Lorenz: Conservation of River scenery by Jacob Philipp Hackert, 1805 – A method for a layer selective varnish removal

Stefanie Lorenz presented the treatment of a painting by Jacob Philipp Hackert in the collection of the Alte Nationalgalerie, Berlin, Germany. Lorenz’s self-described greatest challenge of the treatment was the cleaning of the painting, which had a discolored and patchy surface appearance. Close examination revealed five different varnish layers in dark areas whereas bright areas, such as the sky, showed less layers, but also some intermingled ones. Furthermore, there was evidence for residues of an original varnish, which complicated varnish removal using free solvents. Based on this initial situation, Lorenz tested several treatment options for cleaning and presented an interesting and successful mechanical varnish removal using a melamine resin sponge.

Further reading: Stefanie Lorenz: Die Restaurierung des Gemaeldes Flusslandschaft von Jacob Philipp Hackert. Eine Methode zur schichtenselektiven Firnisabnahme, in: VDR Beitraege zur Erhaltung von Kunst- und Kulturgut, Vol. 1, 2017, pp. 19-25.

Dr. Babett Forster, Romy Koenig-Weska: Das Bildnis als Palimpsest – Schicht um Schicht in Jenaer Gelehrtenbildnissen
Dr. Babett Forster, Romy Koenig-Weska: The portrait as a palimpsest – Layer by layer in scholar portraits from Jena

Dr. Babett Forster and Romy Koenig-Weska showed a variety of portraits from the University in Jena, Germany. From 1548 to the late 18th century, many scholars donated their portraits, often equipped with inscriptions, to the university. Research by Foster and Koenig-Weska has shown, that many of these inscriptions were altered through the centuries. However, some of these covered and overwritten inscriptions start reappearing or are getting uncovered by conservators. The presentation emphasized a complex discussion concerning the preservation and presentation of those portraits in consideration of factors, such as legibility and importance of historic alterations and documents, aesthetics of the portrait, and possible treatment solutions.

Dr. Felix Muhle: Empfindlicher Glanz: Die Fassungen auf Porcellain-Arth im “Wohnkabinet” Abt Anselms II. In Kloster Salem
Dr. Felix Muhle: Delicate sheen: Polished white bole in abbot Anselm II. “Wohncabinet” in cloister Salem, Southern Germany

Felix Muhle discussed the “Wohncabinet” of Abbot Anselm II, at cloister Salem, Germany, focusing on the plaster and furniture elements, which were added by Johann Georg Dirr between 1763-1766. Muhle stated that furniture, sculptures and plaster frames were mostly preserved with their original polished white bole that is imitating porcelain. The presentation covered technical as well as aesthetic aspects of sheen and material imitation and discussed possibilities and limits of cleaning and reduction of grime on water sensitive surfaces.

Eva Bader: Die Oberflaechenreinigung der Installation “Barraque D’Dull Odde” von Joseph Beuys im Kaiser Wilhelm Museum Krefeld
Eva Bader: Surface cleaning of the installation Barraque D’Dull Odde by Joseph Beuys at the Kaiser Wilhelm Museum in Krefeld, Germany

In 1977 Joseph Beuys himself installed Barraque D’Dull Odde at the Kaiser Wilhelm Museum in Krefeld, Germany. The work consists of 650 individual pieces embracing felt, food, dead bees, piles of loose chalk, a dust painting and many other curiosities. This installation represents one of the last “untouched” pieces by Beuys. The preservation of the original installation as well as the great variety of materials complicated the removal of dust that accumulated in almost 40 years. Eva Bader brillantly discussed not just Beuys work process, intentions and created effects, but also presented several conservation approaches for surface cleaning such a complex installation as well as suggested options regarding preventive conservation.

Franziska Bolz: Von Schuhcreme, Sand und Feuer – Kuenstliche Alterung als Bestandteil von Tingatinga-Gemaelden aus Tansania (Ostafrika)
Franzska Bolz: Shoe-paste, sand and fire – artificial aging as a part of Tingatinga-paintings from Tanzania (East Africa)

Franziska Bolz presented her extensive research on Tingatinga style paintings, named after the creator Edward Saidi Tingatinga, who painted in Tanzania at the end of the 1960s. Before he died in 1972, he taught his technique to friends and family members, many of who continued to make Tingatinga-paintings. The paintings are known for their high gloss lacquer paint, which is sometimes patinated with dust, shoe-paste and/or soot. Bolz discussed the intention, genesis, history and integrity of the paintings made by the artist himself compared to today’s practicing artists. She also addressed issues of authenticity and forgery.

Caroline von Courten: The Photographic Surface as Interface in mixed-media photo-works: Layers of materials, processes and meanings in Ger van Elk’s Dutch Grey, 1983/84

Unfortunately Caroline von Courten’s presentation on Ger van Elk’s painted silver-gelatin print Dutch Grey (1983-84) had to be canceled. However, in the abstract she discusses signs of the print’s early degradation. The painted surface of the print has changed due to the unintended migration of silver particles. Based on this case study, von Courten shows, “how the changing photographic surface becomes the visible juncture between what is usually separated as immaterial image and physical image carrier”. (Quote from Caroline von Courten’s abstract in conference booklet)

Caroline von Courten: The Photographic Surface as Interface in mixed-media photo-works – Layers of materials, processes and meanings in Ger van Elk’s Dutch Grey, 1983/84

Prof. Dr. Dietmar Ruebel: Handarbeit und Maschinenaesthektik – Oberflaechen als Arbeitsspeicher in der Kunst des 20. und 21. Jahrhunderts
Prof. Dr. Dietmar Ruebel: Handcraft and machine aesthetic – surfaces as internal memory of 20th and 21st century art

In Prof. Dr. Dietmar Ruebel’s absence, a colleague read his talk about handcraft and machine aesthetic – surface as internal memory of 20th and 21st century art, to the audience. In his paper he illustrated tool marks found on surfaces of mainly three-dimensional objects.

Further reading: Dietmar Ruebel, Handarbeit und Maschinenaesthektik. Oberflaechen als Arbeitsspeicher in der Kunst des 20. und 21. Jahrhunderts, in: VDR Beitraege zur Erhaltung von Kunst- und Kulturgut, Vol. 2, 2016, pp. 88-95.

Helena Ernst: “The Keep” von Mike Kelley im Museum Brandhorst
Helena Ernst: The Keep by Mike Kelley at the Museum Brandhorst, Munich, Germany

Helena Ernst presented her research and treatment on Mike Kelley’s The Keep, now in the collection of the Museum Brandhorst. Kelley’s use of various materials and especially their condition when he completed a piece requires new conservation approaches to preserve both the intention and appearance of the object. Based on the battered door of this installation, Ernst explained what condition issues she had to deal with prior to the treatment. The issue of flaking and lifting paint on the battered door was even more complicated as Kelley intended and expected visitors to come close to the door, even touch it and look through a fish eye to experience the installation. In her talk Ernst also showed how the appearance of the door was probably more important than the door itself and how even material losses are intentional. However, conservators and curators discussed how much loss is acceptable and how much loss is preventable, to support the artist’s intention. Ernst described various consolidation methods, such as insertion of pieces of coated Japanese paper that functioned as a hinge for flaking paint. This method enabled the consolidation of flaking paint without loosing the character of a battered and flaky surface.

Further reading: Helena Ernst: The Keep von Mike Kelley im Museum Brandhorst. Die Sicherung der Farbschicht: eine konservatorische Herausforderung, VDR Beitraege zur Erhaltung von Kunst- und Kulturgut, Vol. 1, 2017, pp. 35-44.

45th Annual Meeting – Paintings Specialty Group – “Conservators as Collaborators: Working with artist Dan Colen” by Suzanne Siano.

Presenting on Thursday, Suzanne Siano, Chief Conservator and Director of Modern Art Conservation in New York, set about to detail the some of her history of artist-conservator collaborations. Initially Suzanne set the stage by providing examples of the theme “Collaboration to Restore”, with artists Glenn Ligon and Louise Fishman. The focus however was on the epic collaboration with artist Dan Colen.

Dan Colen led a wild lifestyle that in recent years has mellowed to include living on a farm and painting for a children’s hospital. This bucolic turn, however, is not reflected in the materials and techniques he and his idiosyncratic studio assistants employ in his artistic practice, of which he retains ownership of the final artistic product. His list of materials are a cacophony of items: oil paint, flowers, crack pipes, concrete, living birds (parakeets), Styrofoam and most relevant to this talk, chewing gum. These lush, colorful assemblages ranged in size from quite small to over 17 feet long. The multi-colored creations had gum in all shapes and forms, glommed onto a support. In one example, the humidity drove up too high, resulting in the activation of the sugars of the gum. The result? Drips formed and delamination of some of the gum pieces occurred. Suzanne’s treatment, in concert with the artist’s wishes, focused on re-adhering of the delaminated gum pieces and removal of the drips. No filling, no inpainting, no stain reduction as per the artist’s request. Though Suzanne suggested that the artist construct a gum that was sugar-free, the artist insisted that the degradation was part of the artwork. Colen did adopt her suggestion of pre-primed canvas and rigid panels.

But let’s back up a few years to when Suzanne met Dan. Well actually Dan’s assistants, because Suzanne and Dan didn’t formally meet at the onset of the first project in 2013. That project involved feathers coated in two types of tar; one was solvent based which was fine and the other was water-based, which had mould growth. The artist needed a support that allowed air-flow that would reduce the chance of future mould growth and Suzanne worked with them to create better stretchers.

Throughout the presentation, Suzanne engaged the audience with the overarching theme of the exploration of the artist’s working method and the integration of the conservator. One statement that resonated with me: as conservators, we collaborate while trying to stay ethical. To me, this relationship can be fraught with difficulty, as we try to steer the artist away from their sometimes-problematic choices. It’s like watching your partner’s new fiancé boil an egg for eighteen minutes: you want to tell them this is not going to end well (because you have the knowledge), but you don’t have the honest relationship yet that allows you to make any comment whatsoever (because there are boundaries). This is not what we anticipated when we were training as conservators, insofar as we were taught to focus on the object. The artist was the distant (read: likely long deceased) element and we had a responsibility to execute best practice for the preservation of the artwork. Suzanne reminds us that our role has evolved, and that with an effective artist-conservator relationship the artist is free to be courageous and bold. Now, the conservator is less constrained in our role, as the artist sees us a new resource. If we think back to some of our most challenging projects, we lament the fact that conservators didn’t get a chance to help inform the artist of the fallibilities of their methods or materials. Moving forward, Suzanne gives us a framework for fostering a respectful and informed relationship with artists, reminding us that our role is an evolution and with that evolution, we can ourselves be enriched.

45th Annual Meeting – Paintings Specialty Group – “Gecko-inspired μ-Dusters for Cleaning: Ongoing Research and Potential for Art Conservation” by Cynthia Schwarz, Hadi Izadi and Kyle Vanderlick.

Not often does one read about the use of reptiles in art conservation. Interest immediately spikes with the word gecko, that warm climate lizard that you often cross paths with during your much-needed tropical vacation.

In our efforts to find novel and non-destructive methods to clean artwork, conservators and conservation researchers set about to find applications in corollary fields that might be adapted to our needs. During this PSG presentation on the Tuesday, Cynthia Schwarz presented the work being conducted alongside fellow contributors Hadi Izadi and Kyle Vanderlick, Cynthia stressed from the outset that this was a very early pilot study, but the depth of information would suggest that quite a bit of work has already been initiated. This work focused on the generation of a new cleaning tool that mimicked the unusual adhesion principles found in the tiny (no, really tiny) toe pads of geckos. This cleaning tool is called a μ-Duster, which is composed of PDMS (polydimethyl siloxane) fibrillary microstructures that are able to remove particulates from vulnerable surfaces.

Geckos have the ability to climb, adhere and release from just about any surface, and can remarkably unclog dirt that lodges in the toe pad structure simply by taking a few more steps atop your beachside resort table lamp. The primary mechanism for adhesion are van der Waals forces, which Izadi modified in the application to create a gecko-mimicking material. Like gecko pads, the goal was to create a dry technology that left no residues, left no mechanical damage and only required minimal force to use. The necessity of such a cleaning tool is high: conservators are confronted more and more with surfaces that are sensitive to liquids (aqueous and solvent-based), complex in nature (such as acrylic paint) and cannot tolerate the presence of any residues in the short or long term (absorbent surfaces). Gecko-inspired adhesive tapes are in use, so why not an adaptation as a cleaning tool?

In the testing, the micro-pillar cleaning tool touches the test surface in a dab and pinch method. Test surfaces were made to mimic an acrylic paint surface, which was composed of poly(methyl methacrylate) (PMMA) as well as actual artificially soiled acrylic paint films. Note that the soiling agents were a variety of silica spheres and that the team tested three different pillar sizes. Colorimetry, gloss measurements and SEM imaging monitored the test surfaces before and after testing. Tested alongside the μ-Dusters were other dry methods such as goat hair brushing and polyurethane cosmetic sponges. The results suggest that the μ-Dusters are able to not only remove loosely bound contaminants, but also sub-micrometric particles that were not removed by other methods such as traditional dusting methods. Concurrently it was revealed that the damage to the surface from the process was noticeable with cosmetic sponge and brush-dusting evidenced in lateral marks seen via SEM imaging, while the much gentler μ-Duster cleaned areas avoided said damage.

This initial foray into μ-Duster cleaning of vulnerable surfaces is very promising, and the researchers note that many factors will come into play during development. The challenges presented by this method include a learning curve (it isn’t a very intuitive method … one has to practice the technique), the roughness of the surface (with some resolution by creating a thinner backing for the μ-Dusters), the slowness of the activity, the repeated contact with the surface and the necessity of cleaning the μ-Dusters (possible need for solvents in the cleaning and re-use of the μ-Dusters). Future research includes methodologies that necessitate cleaning with progressively smaller sizes of pillars (analogous to sanding wood with finer grades of sandpaper), development of different tip shapes for a wider range of dust particle sizes, creating a roller/brayer type tool (which may not be ideal for paintings) and micro-structuring solid gels for cleaning. Cynthia revealed an exciting prospect in nanometric particle removal … this might include soiling agents such as tobacco smoke (goodbye wet cleaning) and an application of removing particles out of air bubbles trapped in the matrix of acrylic paintings.

Thanks to Cynthia and her colleagues for crafting a presentation that was derived from a topic replete with many physics and chemistry based components. I endeavored to draft this blog as an attendee that hails from the bench, and any errors in my interpretation are completely my own. I very much look forward to the growth of this new non-destructive cleaning model.

Update on Disaster Response and Recovery 10/13

During what has been one of the worst hurricane seasons on record, FAIC’s Emergency Programs have been working fervently to connect people to planning and response resources. Through collaboration with our partners on the Heritage Emergency National Task Force, (HENTF) we have been working to gather information about affected institutions and provide support as needed.

In Florida, following Irma, National Heritage Responders visited several affected sites to help assess damage and set up cleaning protocols. Museums from Orlando to Miami received in-person assistance, and many more throughout the region were given advice via the NHR hotline (202.661.8068) and email (nhr@conservation-us.org).

A new outreach project has been developed in collaboration with HENTF in order to make contact with all collecting institutions that may have been affected by recent storms. FAIC worked with partners in Texas and Florida to develop lists of regional institutions. Students at the University of Texas’s iSchool created tools to conduct a calling project with the Texas sites; the model has been adopted by students at the University of Florida who are in the process now of reaching out to Florida sites. The primary goal of this outreach effort is to connect those who suffered damage with the National Heritage Responders if salvage information is needed, and with FEMA if information on the Public Assistance process is needed.

Response to Hurricane Maria in the U.S. Virgin Islands and Puerto Rico has been slow-going but progress is being made. The level of damage in the region has meant that life and safety issues have remained the priority far into the recovery process. FAIC is started to gather information about the institutions in need, and is once again closely collaborating with HENTF and our Federal partners to ensure an effective response. We will notify members about opportunities to support these efforts.

Finally, we recognize that hurricanes are not the only natural disasters wreaking havoc on our shared cultural heritage. The wildfires in Northern California have brought devastation to the region, and can impact not only those in the path of the flames, but those who may suffer from smoke and soot damage. FAIC is working closely with California partners to assess the situation, and the National Heritage Responders are developing lists of resources on smoke and soot damage to help with the recovery process.

The natural disasters that our nation has faced in the past several weeks serve as a reminder of the importance of preparedness – in our institutions, in our private practices, and in our homes.