The London Gels in Conservation Conference: Michelle Sullivan, “Rigid polysaccharide gels for paper conservation: a residue study”

Gels in Conservation Conference, October 16-18, 2017
Gels in Conservation Conference, October 16-18, 2017

This blog post is part of a series of observations about the London “Gels in Conservation” conference co-hosted by the Tate and IAP (International Academic Projects, Ltd).  In mid-October, over the course of three days, some 41 authors presented research, techniques and ideas on gels in conservation.  The talks were excellent, and I’ve focused on four that were notable for the wide range of materials treated and challenges faced. They ranged from coating/grime removal from a giant sequoia tree cross section, to dirt and varnish removal from Delacroix wall paintings, to removal of repairs from a fragile felt hat from a 18th century ship wreck, and an experiment comparing residues left behind by various gels on paper.

Sullivan's research questions
Sullivan’s research questions

The fourth talk I wanted to highlight is Michelle Sullivan’s “Rigid polysaccharide gels for paper conservation: a residue study” — of particular interest to me as a paper conservator.  It was one of the few studies exploring quantitatively if residue is left behind by gels used in the treatment of works on paper.  If so, did how does that residue impact the paper?  To easily track residue on the paper samples, fluorescein dyes visible in UV light were added to the gels tested.  The experiment used agarose, gellan gum and methyl cellulose gels in three different concentrations applied to three different papers for three different time periods.  In addition, a few variables were added to mimic treatment, such as applying the gels through Japanese paper and clearing the gels using a damp swab.  Besides surface examination, cross sections of the samples were also taken to see if the gels were penetrating the paper surface. The cross sections seemed to suggest that gellan gum was being absorbed into the paper.  Sullivan found that all the gels tested left a residue, with gellan gum apparently leaving behind the most. She found that applying the gels through a Japanese paper barrier was the most effective method in minimizing residue.  After oven aging for 21 days, the rag sample treated with gellan gum darkened slightly, while all the other samples did not.  Sullivan proposed that the darkening might be related to the gelatin content of the rag test paper.  She plans to expand her test variables and continue to build on this research.  This feels like very important research and I eagerly await to results of the next phase of her work.

image of the gels & papers used in experiment
Gel residue experiment set-up.

This blog series is a result of receiving the FAIC Carolyn Horton grant to help me attend the conference. I would like to gratefully acknowledge the FAIC for helping make it possible for me to attend this important conference.

 

Grant opportunity: NEH Preservation and Access Education and Training Grant Program

Grant announcement
U.S. National Endowment for the Humanities’ Preservation and Access Education and Training Grant Program

Submission deadline
Tuesday, May 1, 2018

Grant information page
https://www.neh.gov/grants/preservation/preservation-and-access-education-and-training

Description of program
The Preservation and Access Education and Training program supports the development of knowledge and skills among professionals responsible for preserving and establishing access to humanities collections. Thousands of libraries, archives, museums, and historical organizations across the country maintain important collections of books and manuscripts, photographs, sound recordings and moving images, archaeological and ethnographic artifacts, art and material culture collections, electronic records, and digital objects. The challenge of preserving and making accessible such large and diverse holdings is enormous, and the need for knowledgeable staff is significant and ongoing.

Preservation and Access Education and Training grants are awarded to organizations that offer national or regional education and training programs that reach audiences in more than one state. Grants aim to help the staff of cultural institutions, large and small, obtain the knowledge and skills needed to serve as effective stewards of humanities collections. Grants also support educational programs that prepare the next generation of preservation professionals, as well as projects that introduce the staff of cultural institutions to new information and advances in preservation and access practices.

This year, we have a new special encouragement for applicants in federally declared disaster areas:  Mindful of the importance of preserving cultural heritage in regions affected by Hurricanes Harvey, Irma, and Maria, as well as wildfires and mudslides in California, and recognizing the importance of planning, mitigation, and long-term recovery efforts, NEH encourages applications from-and projects that support-cultural institutions in federally designated disaster areas. Project activities can include training sessions related to recovery efforts, the development of regional mutual aid consortia, and workshops focused on emergency planning and response.

Eligibility
Any U.S. nonprofit organization with 501(c)(3) tax-exempt status is eligible (including institutions of higher education), as are state and local governmental agencies, and federally recognized Native American tribal governments. To be eligible to apply, applicants must offer national or regional education and training programs that reach audiences in more than one state.

Questions?
You may direct questions to Senior Program Officer Joshua Sternfeld. jsternfeld@neh.gov.

The London Gels in Conservation Conference: Alina Moskalik-Detalle, “Conservation of murals by Eugene Delacroix at Saint Sulpice, Paris”

Gels In Conservation
Gels In Conservation

This blog post is part of a series of observations about the London “Gels in Conservation” conference co-hosted by the Tate and IAP (International Academic Projects, Ltd).  In mid-October, over the course of three days, some 41 authors presented research, techniques and ideas on gels in conservation.  The talks were excellent, and I’ve focused on four that were notable for the wide range of materials treated and challenges faced. They ranged from coating/grime removal from a giant sequoia tree cross section, to dirt and varnish removal from Delacroix wall paintings, to removal of repairs from a fragile felt hat from a 18th century ship wreck, and an experiment comparing residues left behind by various gels on paper.

2.Alina Moskalik-Detalle talking describing coating removal
2. Alina Moskalik-Detalle talking describing coating removal

In the second of four talks, Alina Moskalik-Detalle presented “Conservation of murals by Eugene Delacroix at Saint Sulpice, Paris.” The talk was interesting for its scale and challenges.  Because I’ve gone to see these murals many times over the years, the talk was also personally interesting. Each time I visited, I left somewhat disappointed by the darkened, flat, dull murals.  As luck would have it, I was scheduled to travel to Paris a week after attending the gels conference.  What I saw when I visited Ste. Sulpice was truly remarkable—color, depth, and drama.  The cleaning had totally transformed these murals.  Naturally, I couldn’t help myself, I actively looked for shiny patches—the results from this treatment were remarkable.  This multi-year project involved numerous conservators including collaboration with Richard Wolbers.  Some of the treatment challenges included flaking paint, complex paint layers, multiple restorations, rising damp in the walls, carbon based grime, and, if that wasn’t enough, the paint was very sensitive to organic solvents.  The conservators wanted to limit penetration of their solvent gels without leaving a residue or tide line behind. They wanted good contact between the gels and the substrate, control of the action of water, and to create mixtures of solvents that would clean effectively without damaging the paint layers.  After cleaning tests were performed, a treatment protocol emerged: by pre-saturation of the areas being treated with cyclomethicone followed by the application of silicone solvents gels to the mural’s surfaces,  tide lines were avoided, grime could be removed, the gels could be cleared, and residue was limited.  The D4 was a slow evaporator which allowed about a 30 minute working time for the application of the gel and subsequent grime removal without harming the paint layer.

during treatment, Delacroix mural detail
3. Delacroix mural detail, during treatment

The gels were made and applied in a paste-like consistency for maximum control of where the material was placed. It clung to the vertical walls and horizontal ceiling long enough to be effective.  Using D4 based emulsions to clean the mural’s paint surfaces allowed the removal of surface soil without stripping wax or oily components from the paint films themselves.  Because the emulsions were surfactant free, it was easier to clear them from the treated surfaces. Analysis of samples didn’t show residue left behind on the surface, but when the conservators tried to consolidate flaking areas of paint, they had trouble with adhesion, it is unclear why.  It will be interesting to see how these murals age over time and if further treatment is needed in future, how re-treatable it is.

St. Sulpice chapel after conservation treatment
4. Author pictured in Delacroix chapel after treatment was completed.

This blog series is a result of receiving the FAIC Carolyn Horton grant to help me attend the conference.   I would like to gratefully acknowledge the FAIC for helping make it possible for me to attend this important conference.

The London Gels in Conservation Conference: Lu Allington-Jones, “Giant sequoia: an extraordinary case study involving Carbopol gel”

Gels In Conservation
Gels In Conservation

This blog post is part of a series of observations about the London “Gels in Conservation” conference co-hosted by the Tate and IAP (International Academic Projects, Ltd).  In mid-October, over the course of three days, some 41 authors presented research, techniques and ideas on gels in conservation.  The talks were excellent, and I’ve focused on four that were notable for the wide range of materials treated and challenges faced. They ranged from coating/grime removal from a giant sequoia tree cross section, to dirt and varnish removal from Delacroix wall paintings, to removal of repairs from a fragile felt hat from a 18th century ship wreck, and an experiment comparing residues left behind by various gels on paper.

Giant sequoia section displayed in the central hall of the Natural History Museum
Giant sequoia section displayed in the central hall of the Natural History Museum

The first session of four, “Giant sequoia: an extraordinary case study involving Carbopol gel”, was presented by Lu Allington-Jones and was intriguing for several reasons: the object was enormous–5 meters (over 16 feet) in diameter. The size alone produced significant challenges, for which solvent gel was particularly suited.  The scale meant that it would be treated in situ in full view of the public, thus potentially exposing patrons to chemical fumes; it would require large amounts of materials to treat; and it was at the top of an open staircase, meaning significant height came into play, as well.  The giant sequoia cross-section had been on continual display since 1894, so it was incredibly dusty, had a darkened and cracking lacquer coating, and had a very friable bark around its perimeter.  A material was needed that could safely remove the failed coatings and accumulated dust without penetrating the surface, harming the friable bark, or creating an unsafe environment for the conservators and patrons during treatment.  Using a solvent gel had the advantage of keeping the solvents contained, reducing solvent vapor, and could act as a poultice to reduce grime and solubilize the failed coating.  In addition, because gel ensures contact with the treated surface, it means that a lower concentration of solvent could be used as compared to a free liquid solvent.  The gel was made 24 hours ahead in Ziploc baggies, the time allowed the gel to reach the needed smoothness and viscosity.

Applying solvent gel from zip-lock baggie (left). Removing solvent gel after treatment (right).
Applying solvent gel from plastic baggie (left). Removing solvent gel after treatment (right).

For application, the Ziploc bags were cut open at one end, the gel squeezed out and spread to 20 mm thick (about ¾”), then covered with plastic wrap to slow evaporation, giving the conservator about an hour of working time before the gel became too sticky and unworkable.  Once the gel softened the coating, it was then removed trowel-like with a piece of cardboard, repeated, then cleared with industrial methylated spirits and wipes.  A significant lesson learned about the gel was once it reached 73F or more, it became runny, causing the gel to slip off the vertical surfaces being treated, which didn’t allow enough working time to reduce the surface coating adequately.  Once treated, the cross section was varnished with a protective layer of Laropal A81. The cross section looked amazing in the after images.  I would encourage everyone to read the article in the post prints as it describes the details of challenges, decision making, and final outcomes.

This blog series is a result of receiving the FAIC Carolyn Horton grant to help me attend the conference.   I would like to gratefully acknowledge the FAIC for helping make it possible for me to attend this important conference.

 

Tips for Writing FAIC Grant Proposals: ECPN Interviews ETC

 

Recent recipients of the George Stout Memorial Fund Scholarship, a grant administered by FAIC that provides funding for emerging conservators to attend AIC’s Annual Meeting.

 

Introduction

Between 2011 and 2015, the Foundation for the American Institute for Conservation (FAIC) awarded $2,064,962 through 462 grants and scholarships. $428,601 of this was given out in 2015 to 91 grant and scholarship recipients. While these numbers include larger grants such as Samuel H. Kress Conservation Fellowships and publication grants, an important part of FAIC’s grant program is to provide professional development support for individuals to attend conferences and workshops and to pursue research projects. A full list of grants and scholarships is available here.

Emerging conservators are eligible for a number of these grants, including the FAIC / Tru Vue® International Professional Development Scholarships and George Stout Memorial Fund Scholarships  – the latter of which is reserved for pre-program individuals, graduate students, and recent graduates to attend professional conferences. Each grant has specific deadlines, eligibility, and application requirements – all of which are listed online. FAIC recently moved the grant application process online to make the process easier for the applicants and the reviewers.

This brings us to the subject of this post: how to improve your applications for FAIC grants! Reviewing and awarding these grants is an important but time-consuming task, so FAIC relies on AIC’s Education & Training Committee (ETC) for assistance. Conservators from different career stages and specialties volunteer to serve on ETC, which is responsible for advancing AIC members’ knowledge of conservation practices by supporting continuing education and professional development endeavors. ETC also promotes educational issues within the field.

As many emerging conservators may be new to writing grant applications, the Emerging Conservation Professionals Network (ECPN) interviewed some members of ETC to ask a few questions about the application and review process. Here’s what we learned:

 

ECPN’s Interview with ETC

  1. Review Process: What happens with an application once it is submitted? Who reviews it, and who makes the final decision?

For each application cycle, the Institutional Advancement Director for FAIC calls for volunteers from ETC to review applications, specifying the deadline and how many volunteers are needed. The reviewers are usually different people based on who can commit time to the process during the application review period. Three reviewers are assigned to read each application, and reviews are conducted anonymously. The reviewers receive instructions and reminders for the unique criteria for each grant.

Taking into consideration the specific grant criteria and the benefit of the project to the applicant (among other things), the reviewer assigns points for each of the selection criteria categories and provides comments to help clarify the ratings provided. ETC members’ ratings and review of the applications ensures a thorough and fair review process.

Next, the AIC Board Director for Professional Education works closely with the Institutional Advancement Director to tally the scores and review comments by ETC and submits the recommended awards for final approval by the Executive Director of FAIC and AIC and the FAIC Treasurer. The goal is always to administer as many awards as the budget allows to support the professional growth of AIC members.

  1. Audience: Who should the application be directed to? That is, who are you writing for (e.g. general audience, fellow conservators)?

Direct the application to your fellow conservators. ETC is made up of your peers — but it is important to keep in mind that ETC members come from a range of specialties. The reviewer may not know the significance of a particular project unless it is clearly defined and expressed. It is important to give details that explain the “why” —that is, why your project is relevant, timely, or important — so the reviewer can understand your thought process.

Because our field is small, there is a good chance that reviewers know some of the applicants. ETC members must also recuse themselves from a particular review if there is any conflict of interest (e.g., that member applied for a grant, or wrote a letter of support for an applicant).

ETC considers the applications based on the merit of a particular application, not with regard to whether you are a junior or well-seasoned conservator, or whether the reviewer is familiar with your work.

  1. Content: What are the major points in the application text to pay attention to? What level of detail is desirable when discussing your project?

Address the grant review criteria directly and pay attention to the parts that are unique to you and your application. Set up the relevance of the project first by describing it; the project description should be brief and straightforward. Then discuss how the project benefits you professionally. This is section with the most freedom: explain how the project is appropriate to furthering your professional development. It is more important to state effectively how you will benefit from your involvement–this is the part that really distinguishes the applications from each other.

So instead of listing your accomplishments, explain what you will accomplish — either by attending the conference, presenting your work, or pursuing your research. And be clear about your level of participation and whether you are attending a workshop or conference, or presenting. While your financial need is implied—you are applying for a grant, after all—you should still mention it. It is helpful for your case if the reviewer knows that your institution does not provide professional development funding, or has not provided it for a number of years.

Describing how you plan to disseminate what you’ve gained from the project is also an important factor. This doesn’t have to mean that you’ll write a book on the subject, but FAIC is interested in the most bang for the buck: how far will the benefits go if this person is selected for funding?

  1. Budget: What are the important considerations when reviewing a proposed budget? What costs should and should not be included? What is the best way to explain how you arrived at your cost estimates? What should you do if your estimated costs exceed the amount that can be awarded?

The budget needs to be complete and reasonable. Being stingy with yourself will not necessarily score you points, but you should not price out a luxury hotel and first-class flights. The Federal Government Service Administration (GSA) provides numbers that can be a great guide for drafting a budget. The online application form prompts you to consider expenses related mostly to travel and lodging, and additional explanation of expenses beyond this form is usually not necessary. While the grants don’t cover food, there is a place to fill out your estimated meal costs to show what you will be covering yourself.

Do not request for more than the maximum award; it may appear as though you didn’t read the grant description. If your projected costs exceed the maximum award, fully outline those costs and request up to the award limit. Outlining all of your costs—regardless of whether they are covered by the grant or exceed the award limit—provides valuable data for FAIC. This information can be used if grants are ever re-evaluated, and FAIC can use the budget information to advocate for higher award limits.

Having an expensive project doesn’t put you at a disadvantage. In fact, it engenders sympathy and understanding that you will have to seek additional funding or otherwise provide funds out of pocket. The better the reviewers understand the total costs, the better the committee can try to support you. The number of grants given out each cycle varies, and the goal is to provide enough support to allow the awardees to fulfill their projects.

  1. Recommendation Letters: How should you select recommenders? How can you help prepare them to know what points to speak to? Do your recommenders have to be AIC members? Should they have status within AIC (PA, Fellow)?

The letters should come from someone with whom you have a professional relationship, and who will write a positive recommendation that specifically discusses how the project will benefit you. If you are unsure whether a recommender’s letter will be positive, you can ask them or ask someone else to write for you. The perceived status of your recommender is not so significant; someone who seems important in AIC does not necessarily write a better letter. The requirements for recommenders’ status within AIC vary from grant to grant, so be sure to read the application procedures section very carefully.

Providing a recommender with your current CV and a draft of your application can help them to tailor the recommendation letter to your application. Also, let your recommenders know they can fill out the Letter of Support Form [insert link] provided by FAIC, rather than writing a traditional letter. All of these materials can be submitted electronically by the recommender, so the recommendation remains confidential. The deadlines are firm, so make sure to ask for recommendations well in advance and indicate the application deadlines in your request.

For more on this topic, look at the guides ETC has developed for requesting and writing letters of recommendation.

  1. General: Are there any easily fixable but common mistakes you see in applications? If your application is not accepted, what steps can you take to improve your chances next time? What are some general tips you would provide to first time grant applicants?

Do not overthink it. Your essay need not be lengthy; completeness and accuracy are what counts, so answer the questions and speak to the grant criteria directly. Be concise in making your case, and keep in mind that reviewers may read dozens of applications at a time.

Almost all of the projects and applicants seem worthy in each cycle, so it may come down to minor errors or omissions that result in an incomplete application. It does not reflect poorly on you for future applications if you not receive funding for your first application, so please don’t get discouraged.

For some common reasons why applications do not receive funding, see the great list below, provided to ECPN by Eric Pourchot, Institutional Advancement Director for FAIC.

 

Some Final Thoughts

In 2015, about half of FAIC grant and scholarship applications were funded, and the total funding awarded was 34% of the total amount requested. And—as we mentioned in our last post on the structure of FAIC and AIC—FAIC must raise the funds to support these grants and scholarships. A good portion of this comes from the Specialty Groups, AIC members, and individual donors! In 2015, $49,000 was raised through individual donations to support FAIC grants and other programs. So, if you are ever the recipient of one of these scholarships and grants, in the future consider “paying it forward” if you can by making a donation to FAIC!

We’d like to thank Nina Owczarek and Susan Russick from ETC and Eric Pourchot (Institutional Advancement Director for FAIC) for answering our questions, and Stephanie Lussier (AIC Board Director, Professional Education) and Heather Galloway (Chair, ETC) for their help reviewing this post.

If you have further questions about applying for grants, you can email: faicgrants@conservation-us.org.

 

— Jessica Walthew (Education & Training Officer) and Rebecca Gridley (Vice Chair) on behalf of ECPN

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Bonus Tips!

ECPN asked Eric Pourchot, Institutional Advancement Director for FAIC, for some common reasons applications are not funded. Keep these in mind when drafting your application!

  1. The proposal did not meet the eligibility requirements or did not address the purpose of the grant or scholarship. For example, a professional development proposal might address the institution’s need for the proposed training, but not the benefit for the individual, which is the purpose of the grant. Read the guidelines carefully and think like a reviewer as you write the proposal.
  2. The proposal is incomplete. Be sure to double-check attachments, any required letters of support, etc.
  3. The project’s cost is out of proportion to the scale of the grant or scholarship. For example, a proposal might show $20,000-$30,000 in expenses, with no firm source of funding.  If the grant limit is $1,000, reviewers may ask how likely it is that the project will be completed.
  4. The proposal has errors or inconsistencies. These sometimes can be overlooked, but when competition is stiff, a proposal that doesn’t appear to be well thought-out will often be rated lower than more polished proposals.
  5. The budget is inflated, has errors, or isn’t justified. This is not always a fatal flaw, but often puts a proposal at a disadvantage.  If airfare or hotel prices are listed as much higher than what can be found online, for example, reviewers may question the overall proposal.  Conversely (but more rarely), a budget that doesn’t appear to reflect the real costs of a project may be seen as not feasible.  If there is a factor that distorts the budget, that should be indicated and justified in the narrative.  For example, scheduling might not allow the applicant to travel over a weekend, raising the cost of a round trip flight, or the applicant may be staying with friends and not require a hotel.

Recent recipients of the George Stout grant presenting at AIC’s Annual Meeting.