Month: December 2012

From the Bench: Upgrade of American Sculpture and Decorative Arts Storage

This post is part of the “From the Bench” series celebrating the work of conservators. Part scientist, part detective, they work to preserve the past for the future. This series features the voices of conservators who are working on IMLS-supported projects in museums across the United States. For more information about IMLS funding for museums see www.imls.gov/applicants/available_grants.aspx.

By Barbara Heller, Director and Conservator, Special Projects, Detroit Institute of Arts

With the invaluable support of IMLS, the Detroit Institute of Arts was able to upgrade storage for its American decorative arts and sculpture collections dating from the beginning of the European settlements until 1950. These objects had been located in six separate, inaccessible temporary storage spaces during the museum’s 2000 –2007 renovation and expansion project. This new state-of-the-art storeroom makes possible the safe removal, handling, and study of works by curators, conservators, educators, and scholars. Greater accessibility also facilitates contributions to the body of academic knowledge and the creation of new educational programming at the museum, and allows the public to see more of the collection. In fact the project has resulted in five articles written by conservators, curators, and educators published in professional journals and books and eight YouTube podcasts.

New powder coated cabinets line the room. The glass doors allow for visual monitoring of the collections. Fixed wall screens provide vertical hanging space for heavy metalwork, mirrors, and frames. The wide aisles provide adequate space to move works of art. Racks and platforms installed against the back wall accommodate larger sculptures and three-dimensional objects. These include Daniel Chester French’s three large plasters for the Samuel Francis DuPont Memorial Fountain, which are barely visible in the photograph on the bottom left behind their polyethylene sheeting and are fully accessible in the upgraded storeroom shown on the bottom right.

Also housed in this room are bronze sculptures by Frederic Remington, marbles by Hiram Powers, and decorative arts pieces such as glass by Louis Comfort Tiffany. A total of 2,749 objects were relocated to this room, of which 1,561 were rehoused with stabilization mounts. Digital photographs were taken of objects that had not been photographed, before placing them into their new cabinetry.

During the project period, more than forty-six objects, including silver by Paul Revere, were rotated into the DIA’s American galleries or loaned to exhibitions at other institutions. The museum conserved forty pieces—twelve received new mounts—and nine new collection acquisitions were processed. Additional documentation information for 383 objects and 1,200 new digital images were entered into the museum’s collections management database, allowing for new images to be linked to the DIA website. Renewed access has allowed the museum’s curators to review and research the silver collection. A new installation showcasing DIA’s early American silver and decorative arts is being funded by the Americana Foundation and scheduled to open by the end of 2012.

From the Bench: Preservation Project Protects 65 Million-Year-Old Fossilized Leaves for Scientific Study

This post is part of the “From the Bench” series celebrating the work of conservators. Part scientist, part detective, they work to preserve the past for the future. This series features the voices of conservators who are working on IMLS-supported projects in museums across the United States. For more information about IMLS funding for museums see www.imls.gov/applicants/available_grants.aspx.

By Jude Southward, Conservator and Museum Conservation, Department Chair
Denver Museum of Nature and Science

It’s fall, and the trees are shedding their leaves, making playful swirls on the ground. Have you ever wondered what happened to leaves that fell to the ground around 65 million years ago? At the Denver Museum of Nature & Science (DMNS), we are rehousing beautiful fossil leaf specimens from Denver Basin excavations that date from that time period. The specimens are remarkable because so many of them retain a cuticle. The cuticle is the waxy protective coating on living leaves, and it allows researchers to investigate past carbon dioxide levels. It is just one of the ways the museum is helping to study our changing climate.

Leaf with intact compression-impression macro fossil and cuticle showing excellent preservation of the leaf detail

With help from a Conservation Project Support grant from IMLS, DMNS is providing optimum storage conditions for the 8,900 fossil leaf specimens housed at DMNS. The leaf fossils are preserved on mud, silt, and clay matrices that are not strongly cemented together.  Even though these are fossil specimens, they are prone to damage from handling or from prolonged exposure to water, which could occur during fire suppression.  If the cementation fails, the fossil breaks apart. This project is helping us protect these specimens against both physical and water damage. Many museum staff members are working on the project including conservators, curators, collections managers, and a dedicated crew of volunteers in the museum’s Earth Sciences Department. The team is working together to place the specimens in standard trays with customized supports. The specimens and their trays will then being placed in new, high-quality, closed cabinets.

As part of the project, staff conservators are completing condition reports on the 800 type specimens in the collection. These type specimens are the most significant taxonomic fossil leaves in our collection because they are the specimen on which a new species description is based. They have the highest curatorial and conservation priorities for closer examination, which allows us to see the remarkable structure of the leaves.

In addition to the rehousing and condition reporting by conservators, the effort entails work by project staff to conduct collection management activities, such as reviewing taxonomy to determine correct storage location, inventorying specimens, and creating storage labels. Finally, all inventory and condition report information is being entered into the collections database.

I have had the opportunity to work on more than a dozen IMLS-funded projects. I truly appreciate the impact of the agency’s commitment to collections preservation.

ECPN Portfolio Seminar at AIC’s 41st Annual Meeting

The Emerging Conservation Professionals Network will be hosting a portfolio sharing event at the 41st AIC Annual Meeting in Indianapolis. This year’s portfolio seminar will take place on Wednesday, May 29th, from 4-6pm, and will include speakers, a discussion panel, a Q&A section, as well as a chance for students and recently graduated conservators to share their portfolios. First-year through fourth-year students and recent graduates are invited to present their portfolios during the portfolio sharing session near the end of the seminar. As with last year’s session, contributors will be present to answer questions and interact with the individuals viewing their portfolios; however, no formal presentations will be required of the portfolio presenters. Graduate students interested in presenting their portfolios should contact their program’s ECPN liaison. Recent graduates should contact Carrie Roberts at: carrizabel@gmail.com.  Hope to see you in Indianapolis!

Help Conservation by Taking Part in AAM and NHA Advocacy Days!

Consider helping to ensure the future prosperity of the field of conservation by taking part in one or both of the following advocacy day events:

American Alliance of Museums: Feb. 25-26, 2013, Washington, DC

Work to make a unified case to Congress in support of museums.

Take part in a day of programming geared toward your level of advocacy experience, then visit Congressional offices with colleagues from your community. AAM will set up your Capitol Hill meetings for you, and give you talking points and pointers on how to make the best case.

Representatives from throughout the entire museum field are encouraged to take part–and please note there is NO registration fee if you are an AAM member!

For more information, click here.

National Humanities Alliance Annual Meeting & Humanities Advocacy Day: March 17-19, Washington, DC

Connect with a growing network of humanities leaders, communicate the value of the humanities to Members of Congress, and become a year-round advocate for the humanities.

Sessions and events will be held at the One Washington Circle Hotel, George Washington University, and Capitol Hill.

For more information, click here.

Thank you for all your efforts!

Call for proposals in Heritage Science for Conservation

Andrew W. Mellon Postdoctoral Fellowship
Heritage Science for Conservation
Call for Proposals
Johns Hopkins University
Sheridan Libraries and Museums

Johns Hopkins University is pleased to announce that it is now accepting proposals under its 2013 call for proposals in Heritage Science for Conservation (HSC).  Supported by a grant from the Andrew W. Mellon Foundation, HSC is an interdisciplinary program based in the Department of Conservation and Preservation of the Sheridan Libraries and Museums which partners with the Whiting School of Engineering’s Department of Materials Science and Engineering at JHU.

Heritage Science for Conservation provides a bridge between the work of scientists and conservators by bringing them together in one lab in order to conduct research, to engage in collaborations with conservators, scientists, students, and industry; and to explore various topics in the preservation and conservation of book and paper collections found in cultural institutions.   By attracting outstanding scientists to the discipline of conservation and uniting scientists into the larger conversations of the heritage community, HSC advances knowledge of conservation of cultural heritage materials and develops the next generation of conservation scientists.

Proposals should seek to combine different scientific and engineering concepts and/or technologies in order to yield new understanding or practical results helpful to conservators. HSC accepts proposals based on the six Research Areas and the corresponding Project Topic. Applicants should refer to the Research Area chart via the following link: http://www.library.jhu.edu/bin/m/h/HSCResearchAreas.pdf

Any research topic from the six Research Areas will be considered. Areas with particular emphasis for HSC include paper strengthening, permanence of coatings and paper sizing, leather consolidants, modeling and forecasting for book and paper aging and degradation, and proof of concept for technology benefiting book and paper conservators, sufficient for commercialization.  In addition to the primary research proposal, fellows will participate in other small avenues of research exploration or develop smaller research initiatives as may be revealed through the course of the primary research project or in the course of working alongside scientists, conservators, curators and industry partners.

Candidates must hold a PhD in a scientific discipline and have a high level of scientific achievement combined with a strong interest in cultural heritage collections.  Experimental research experience and an ability to plan and execute research are required. Salary for the position is $56,000.00 and includes fringe benefits and the health insurance premium.

Please visit our website for further information on the postdoctoral fellowship, the Proposal Guidelines, and the Submission Form:
http://www.library.jhu.edu/departments/preservation/hsc/application.html

Johns Hopkins University is an equal opportunity/affirmative action employer committed to recruiting, supporting, and fostering a diverse community of outstanding faculty, staff, and students.  All applicants who share this goal are encouraged to apply.

Deadlines
·        Submission Deadline:  February 15, 2013
·        Phone Interviews:  March 15, 2013
·        Award Notification:  April 15, 2013
·        Start Date:  August 15, 2013

FAIC Cultural Recovery Center to Open in Brooklyn

The Foundation of the American Institute for Conservation of Historic and Artistic Works (FAIC) announces a temporary facility to provide volunteer assistance and work space to museums, libraries, archives, historic sites, galleries, collectors, and artists to open in Brooklyn the week of December 10.

The Cultural Recovery Center will be operated by The Foundation of the American Institute for Conservation of Historic and Artistic Works (FAIC), in cooperation with a consortium of organizations:

Alliance for Response New York City
Heritage Preservation
New York City Department of Cultural Affairs
New York Regional Association for Conservation
Industry City at Bush Terminal
Smithsonian Institution

Funding for the Center has been provided by a leadership gift to FAIC from Sotheby’s.  The Smithsonian Institution and a grant to Heritage Preservation from the New York Community Trust, as well as support from TALAS, have enabled purchase of supplies.  The Center has also been outfitted with supplies from Materials for the Arts, a creative reuse program managed by the New York City Department of Cultural Affairs. Additional donations to FAIC have come from PINTA, The Modern & Contemporary Latin American Art Show; Tru Vue; members of the American Institute for Conservation; and others. The American Museum of Natural History and the Museum of Modern Art have also provided key support for recovery efforts.

FAIC and its partners have been offering crucial disaster response assistance to cultural organizations and artists in need in the wake of Superstorm Sandy. In the first 10 days after the storm struck, FAIC’s Collection Emergency Response Team’s (AIC-CERT) 24-hour hotline (202-661-8068) fielded over 55 calls from collectors, artists, and museums. AIC-CERT and New York area volunteers are working with approximately 120 small collections, galleries, and artists in New York and New Jersey to recover collections.  In addition, AIC member conservators in private practices throughout the New York City region are helping owners preserve their collections.

Access to some collections, including those of individual artists, is only now becoming possible.  Even artwork that has been dried still may need rinsing and cleaning to remove residues and mold spores.  The Cultural Recovery Center will offer space and expertise to help owners stabilize their collections.

More information about these volunteer services can be found at www.conservation-us.org/cert

Information for owners of cultural materials can be found at: http://www.moma.org/explore/collection/conservation/recovery

Free Seminar & Demonstration on Caring for Paintings Damaged by Hurricane Sandy

On Friday, December 14, conservator Rustin Levenson will give two free seminar/demonstrations on caring for paintings damaged by Hurricane Sandy. Artists and collectors can bring one (preferably small) wet/moldy painting on canvas or wood. Limited supplies will be available, along with a supply list, website list, and printed instructions. The first seminar will be in Manhattan from 10-12 PM on Friday, December 14 at Parsons New School for Design, The location is Room 1618, 79 Fifth Avenue. The second will be from 3-5 at Pratt Institute in Brooklyn. It will be classroom 001 in the basement of South Hall.

To sign up, or with questions about the seminar, contact Rustin at rustinfl [at] aol [dot] com or through her website artcarenyc.com.

Rustin Levenson graduated with a degree in Art History from Wellesley College and was trained in conservation at Harvard University’s Fogg Art Museum. She worked on the conservation staff of the National Gallery of Canada and the Metropolitan Museum of Art before opening Rustin Levenson Art Conservation, with studios in Miami, Florida and New York, New York. After Hurricane Andrew in Miami she rescued over 5000 works of art.

The seminars are sponsored by the Foundation for the American Institute for Conservation

ECPN Webinar: “Considering your future career path: working in private practice”

On November 30, 2012, the Emerging Conservation Professionals Network (ECPN) held its second webinar – “Considering your future career path: working in private practice.” 80  registered participants called in to learn valuable insight into the world of private practice from Paul Messier, President and Head Conservator of Paul Messier LLC, Conservation of Photographs & Works on Paper (http://paulmessier.com/); Rosa Lowinger, Principal and Chief Conservator of Rosa Lowinger & Associates (http:// www.rlaconservation.com/), which specializes in the conservation of objects, sculpture, and architecture; and Julia Brennan, Owner and Chief Conservator of Textile Conservation Services (http://www.caringfortextiles.com/).

The program began with a brief introduction from each speaker on their practice. Messier, who studied at the Buffalo State College Art Conservation Program, established his Boston-based practice 18 years ago and employs three full-time workers and two part-time interns. Lowinger, who is a graduate of New York University’s Conservation Program, has been in private practice since 1986. She employs three graduate-trained conservators and three full-time technicians in a practice with offices in Miami and Los Angeles. Brennan, who completed her training through apprenticeships, has been in private practice for 20 years and has a small, home-based practice, which employs one to three people depending on the project, as well as an apprentice and interns. Each speaker explained why they decided to establish their own practice – generally for personal reasons and a desire for greater independence – and how their businesses have grown and evolved over the years.

The speakers also discussed their work beyond treatment projects and how they balance various initiatives, emphasizing the importance of playing an active role in the field and not becoming isolated. Messier is focused on research, particularly on 20th-century photography, and has amassed an incomparable reference collection over the years, an aspect of his work which private practice has given him the freedom to take on. He is committed to educating the next generations of conservators through internships, and he is involved in a project at the Hermitage Museum in St. Petersburg, where a photograph conservation department is being set up. Messier is also dedicated to working with AIC as a volunteer and has served as chair on various committees. Lowinger’s greatest interest is in working with artists and contributing to the discussion on conservation of modern and contemporary art and architecture. She also is involved in outreach initiatives throughout Latin America and the Caribbean and is particularly devoted to outreach in her home country of Cuba. Finally, she is an active writer on conservation for various publications and blogs and feels strongly that there is a need for conservators to tell our own story, rather than have it told by reporters. Brennan is involved in several local groups, as well as groups of related fields, such as conservation care and preventive conservation. A major part of her work is her outreach to Thailand and Laos and other countries throughout Southeast Asia and Africa, where she leads training workshops on preventive conservation and textile conservation, and has established a regional forum for the care of textiles. She, too, dedicates time to writing articles, being available to others as a mentor, and to getting involved in the broader family of cultural heritage.

The final discussion question asked for one piece of advice from each speaker for those considering going into private practice. Messier spoke on self-confidence, patience, and the importance of networking and building long-term relationships. Lowinger emphasized the importance of collaborating with and learning from others in private practice, even if from afar. Brennan advised taking a course in project management and learning to balance large with small projects, being passionate about your work, and investing time in your clients.

The next part of the webinar consisted of an audience Q&A and again the speakers shared great practical information and advice. Responding to a question on whether they ever worry about having too much competition in the private practice world due to the scarcity of jobs in institutions, all three speakers agreed that, while competition is always a concern in life in general, what is important is trusting your own experience and knowledge, as well as acknowledging your limitations and being willing to work with others. Other questions centered on establishing a client base at the start of your practice, as well as justifying the price of your work to your clients when you are new to the field. Each speaker emphasized that communication with clients is critical to establishing a loyal client base. Never delay in answering messages and always be calm and professional. Brennan suggested doing pro bono and outreach work – more work will come back to you as a result, she explained.

All three speakers also stressed that even emerging conservators must be scrupulous about what they charge and should try not to undercut to gain work. Not only does this have a negative impact on your own practice, but it also undermines the value of our profession. Rather than charging less than their worth, emerging conservators should limit their scope and recognize their capabilities in the beginning of their practice, and must be willing to work with others.

Responses to unanswered questions will be available soon. ECPN will keep you informed on where this can be accessed once it has been posted.

ECPN would also like to emphasize that Conservators in Private Practice (CIPP) is a specialty group of AIC that exists to provide its members a forum to exchange information, suggestions, and tips on running private practice conservation businesses. CIPP has a discounted $5 student rate. You can find more information about CIPP and how to join it, along with useful resources and links, by following this link: www.conservation-us.org/privatepractice.

For more information on ECPN’s webinar series, please visit www.conservation-us.org/ecpnforum.

Some call us superheroes

According to Pia Catton in “Conservators Take Up Fight” (November 19, 2012), one of the many articles which The Wall Street Journal has published about the effect of Hurricane Sandy on the visual arts in New York City, conservators are now “art world superheroes” to the galleries and artists whose works were destroyed by the flooding. The widespread dissemination of information about the conservation profession –including its emergency response capability– may be the one good thing to come out of this terrible event.

When It’s Cats Versus Monuments

Rome is known for its street cats and for its archaeological sites. When the two come together there are problems as the cats and the tourists who come to see and feed them are damaging to the ancient monuments. The Area Sacra of Largo Argentina, an archaeological site in downtown Rome consisting of four Republican era temples is also the site of a very long standing but unofficial cat shelter. According to an article in The New York Times (“Strays Amid the Ruins Set Off a Culture Clash”, by Elisabetta Povoledo. November 8, 2012), when the shelter recently applied for a permit to install a toilet, it came to official notice and the Culture Ministry is now trying to close it down. Whether the shelter remains or is closed, there will still be cats at this and other Roman sites. Umberto Broccoli, Rome’s superintendent for culture acknowledges that “the cats of Rome are by definition as ancient as the marble capitals they lounge on”. Can the preservation of the cultural heritage prevail when the cats of Rome are seen as being equally important?