One-day session, repeated October 21 and October 24, 2014 National Gallery of Art in Washington, D.C.
A one-day, hands-on workshop will explore the chemistry of platinum and palladium photographs and consider how variations in processing affect the appearance and permanence of the prints. The workshop will be held twice and will be led by Christopher Maines, Conservation Scientist, Scientific Research Department, NGA, and Mike Ware, Photographic Materials Chemistry Consultant to the NGA. Includes box lunch.
Workshop Registration Fee: $220 AIC members; $320 non-members
This workshop program is designed for practicing photograph conservators and photograph conservation students. Participants will be selected to achieve a balance of senior and emerging professionals and institutional and private practice. Experience, demonstrated need, geographic reach, and opportunity to disseminate information gained will be considered. With the exception of places for student and emerging professionals, preference will be given to AIC Professional Associate and Fellow members.
Applications are due February 15, 2014, with notifications expected by March 20. Later applications will be considered, if space is available.
To apply for a space in the workshop, please fill out the platinum-palladium-workshop-application, and send the form along with a copy of your resume or CV and statement of interest to courses@conservation-us.org.
This workshop is part of an event surrounding the symposium “Platinum and Palladium Photographs” which also includes this workshop and tours. The event is presented by the Foundation of the American Institute for Conservation of Historic and Artistic Works, in collaboration with the Smithsonian National Museum of the American Indian, National Gallery of Art, Library of Congress, and the Smithsonian National Museum of American History.
This program is supported by grants from the National Endowment for the Humanities and The Andrew W. Mellon Foundation.
Additional funding comes from the Foundation of the American Institute for Conservation of Historic and Artist Works Endowment for Professional Development, which was created by a grant from The Andrew W. Mellon Foundation and donations from members of the American Institute for Conservation and its friends.
Year: 2013
Why must the media stereotype?
In an otherwise informative article about Lois Price and the conservation of the cultural heritage of Iraq (“Monuments Woman”, The Wall Street Journal, December 3, 2013), Melik Kaylan says about Price, “At first glance, you wouldn’t associate her with intrepid forays into troubled regions, she being a petite bookish woman of a certain age with a precise manner. But she is today’s incarnation of the Monuments Men tradition…”.
Then, in an article about the restoration of St. Anselm’s Church in the South Bronx (“Bringing Back the Artistic Beauty of a 19th Century Church”, The New York Times, December 9, 2013), David Gonzalez quotes conservator R. Dario Cano as saying, “I had a chance to work on a church in Berlin and another one in France. I decided to stay in the Bronx.”
Why must the media promulgate stereotypes with its surprise that a conservator is not an Indiana Jones type or that there is a church interior worthy of restoration in a place other than Europe?
Contract Objects Conservator – Walters Art Museum
Contract Objects Conservator
Walters Art Museum
The Walters Art Museum is seeking to hire an assistant-level objects conservator for a 3-year, full-time position. Funded by an IMLS Museums for American Stewardship grant, the conservator will treat 18th and 19th century objects from the Doris Duke Collection of Southeast Asian Art. The objects, including manuscript cabinets and sculptures are primarily made of lacquered and gilded wood or copper alloys, that require documentation, analysis, cleaning, stabilization and some compensation. Developing a treatment protocol and undertaking a technical analysis of a painted textile banner will be a smaller part of the project. Work will be conducted both in the laboratory and in public space.
Requirements include a master’s degree in art conservation with specialization in objects conservation and at least one year of experience treating objects after graduation. Some experience with textiles is desirable and interest in public outreach is a plus. The conservator will work under the supervision of the head of objects conservation and with conservation staff members. Interaction with other museum departments and the public is part of the job. The conservator will be responsible for documentation, examination, treatment proposals, hands-on treatment and technical research with the museum scientist and in consultation with curators.
The candidate must have good verbal and written communication, organizational and team skills. Proficiency in digital photography and processing and strong computer skills are required (Microsoft Office Word, Adobe Photoshop). The museum uses the TMS database.
Salary is commensurate with experience plus benefits and generous travel stipend.
For consideration, send your resume, cover letter and salary requirement to jobs@thewalters.org. Deadline for application is Dec. 30, 2013.
Archaeological Conservation at ASOR 2013
Three weeks ago LeeAnn Barnes Gordon and I co-chaired a conservation session at the annual meeting of the American Schools of Oriental Research (ASOR) in Baltimore, MD. Friends, I loved every minute of it.
This year the session, titled “Conservation and Site Preservation in the Near East,” kicked off at 8:20 in the morning on the very first day of the conference. We were concerned about the early start time, but attendance was good and the audience was engaged and responsive. This was the second in series of 4 planned sessions, and I’ll tell you about our lofty goals for the series a bit later. First, here are the 6 papers from this year, with a few notes from me about each:
“Preserving Egypt’s Cultural Heritage: Experiences Gained and Lessons Learnt”
Michael Jones (Antiquities Conservation Project, American Research Center in Egypt)
I was surprised to learn in this talk that ARCE’s fantastically comprehensive conservation and education programs in Egypt, underwritten by USAID, all began as a simple salvage response to the deadly 1992 earthquake. Michael spoke about building stakeholder support for conservation in Egypt, about the challenges of recent political turmoil, and showed us the wonderful results of conservation efforts at the Red Monastery in Sohag, among other sites. If you don’t know much about ARCE and its conservation programs, read more here.
“Training for the Conservation and Management of In Situ Mosaics: The MOSAIKON Initiative”
Leslie Friedman (Getty Conservation Institute), Jeanne Marie Teutonico (GCI), Kathleen Dardes (GCI), Thomas Roby (GCI), and Zaki Aslan (ICCROM)
Everything you’ve ever wanted to know about mosaics preservation, MOSAIKON is improving and teaching it. How to do a great job with locally available materials? They’re on it. Training for the next generation in-country? That, too. Conservation education in Arabic? Yes! Mentoring for conservators in the Middle East? Of course. What about my favorite site preservation solution, reburial? They’re studying the most effective ways to do it for mosaics. And of course, they are producing publications about it all. Check it out here.
“Digging on the Edge: Archaeology and Conservation at Kourion, Cyprus”
William Weir (University of Cincinnati), paper delivered by Stephen Humphreys
This site-specific case-study delivered great information and dramatic visuals of mosaics perched precariously on cliff-edge. It detailed, from the archaeologists’ perspective, the experience of working with conservators to document and save mosaics at a site. It also illustrated the complexities of conservation at archaeological sites; within a single site, the response to each mosaic differed depending on the mosaic’s location, construction, and the project’s ongoing research. A great talk illustrating successful collaboration in archaeological conservation and research.
“Painted Roman and Byzantine Cypriot Tombs: Properties, Processes and Preservation”
Ioanna Kakoulli (University of California, Los Angeles), Christian Fischer (UCLA), and Demetrios Michaelides (University of Cyprus)
This was an excellent talk for anyone interested in conservation of wall-paintings; these Cypriot rock-cut tombs have undergone structural damage from shifting bedrock and water damage from floods and rainfall. Ioanna also discussed the technical analysis of plaster, pigments, and binders for the paintings. This talk was also great for anyone interested in preservation and management of active tourism and pilgrimage sites: littering, vandalism, education and interpretation! How about making your conservation plan work for nearby hotels as well as an active monastery? Done. This talk detailed a comprehensive approach to a complex series of problems.
“Dilemmas in Preservation of Iron Age Sites in the Valley of Beer-sheba”
Zeev Herzog (Tel Aviv University)
Zeev’s talk beautifully, and humorously, detailed the decades-long effort to preserve mud-brick architecture at the site of Beer-sheba in Israel. An unusually inventive series of campaigns beginning in the 1960’s tried almost everything the determined teams could think of: chemical consolidation, firing the bricks in-situ with a portable kiln, capping the walls with new mudbricks, and, finally, capping and restoration with modern, fired bricks. In addition to illustrating a half-century of conservation and site preservation at a single site, this talk explored preservation and interpretation goals for important Iron Age sites in Israel.
“The Conservation and Technical Analysis of Ancient Near Eastern Objects at the Johns Hopkins Archaeological Museum”
Sanchita Balachandran (Johns Hopkins University)
As a conservator in a university archaeological museum, I’m always impressed by the JHU Archaeological Museum’s (and Sanchita’s) commitment to linking conservation to undergraduate teaching and using object-based projects to improve learning for students. This talk was especially useful because it had detailed case-studies of specific objects and projects. I especially liked the way Sanchita used these projects to develop transferable skills like observation and critical thinking for her students.
Back to our lofty goals – LeeAnn and I began this series of sessions with the goal of fostering collaboration and better integrating continuing education in the allied disciplines of conservation and archaeology. We want to bring more conservation information to our archaeology colleagues, and we hope to promote archaeology meetings as a forum for conservators. So far each session has been an excellent educational opportunity for us, and we hope our audiences have felt the same way. We’re grateful to our speakers in both years thus far and to ASOR for embracing the series.
Archaeological conservators, we hope you’ll join us for future meetings in San Diego (2014) and Atlanta (2015). If you’re willing to contribute to conservation sessions at either meeting, please write us! We’d love to hear from you. The deadline to submit abstracts for 2014 is February 15.
Suzanne Davis: davissl@umich.edu
LeeAnn Barnes Gordon: leeannbarnes@gmail.com
Is it ignoble to spend one’s life caring so much for objects?
The 2013 novel, The Goldfinch, by Donna Tartt may tell the story of how a terrible tragedy— a terrorist bombing in The Metropolitan Museum of Art which kills his mother— affects the life of a thirteen year old boy. However, due to the fact that a major character is furniture restorer, it also happens to provide a good introduction to the examination, repair, and replication of antique furniture.
There is one bit of dialogue which occurs late in the story which may hit home for any conservator who has been called upon to justify his calling:
“I suppose it’s ignoble to spend your life caring so much for objects.”
“Who says?”
“Well—“ , turning from the stove—“it’s not as if we’re running a hospital for sick children down here, let’s put it that way. Where’s the nobility in patching up a bunch of old tables and chairs? “
Is the only moral career choice one in which you directly help people? Why should it be wrong to care so much about objects?
Basic Advice for Conservation Graduate School Applications from ECPN
As the deadlines for graduate school applications approach, many pre-program conservators have been soliciting information and advice on the application process. Here are some answers to the basic questions received by Emerging Conservation Professional Network (ECPN) officers. These questions are geared towards the Art Conservation programs in North America, but much of the information is basic enough to cover concerns for a variety of graduate programs.
What information should my personal statement cover?
Your personal statement is your chance to introduce yourself to the schools beyond listing your resume, GPA, GRE, etc. It should be autobiographical by highlighting your major experiences that have prepared you for school, and just as importantly, it should explain how that particular program would be a good fit for you. Each program is different and requires a tailored personal statement (and application). How are you prepared for graduate school and a professional career in art conservation? Ask people to proofread your statement! Remember, this is your opportunity to impress the review committee; you don’t want typos letting you down.
If a writing sample is required, what kind of sample should I choose?
The writing sample proves that you can concisely and effectively articulate your point. These are important skills to have when writing condition and treatment reports. There is no minimum or maximum length, since reviewers most likely will skim them to get a feel for your writing style.
Who should write my recommendations?
For conservation recommendations, choose someone whom you feel witnessed your hand skills and work ethic, and got to know your personality. For academic recommendations, choose someone whom you feel is familiar with your work and knows about your goals of becoming a professional conservator. Choose people that you feel comfortable asking. If you’re unsure about someone, approach her by asking if she thinks that you’re ready to apply. **Be sure to give your recommenders plenty of time to write, keeping in mind that the holiday season is right before the applications are due.
What type of artwork should I submit (through photographs)?
Your artwork should reflect your developed dexterity and can range from oil paintings and hand-bound books, to sculpture and cross-stitch. Be sure that drawings and paintings are representational and/or precise, not gestural abstract designs, so you can demonstrate your hand skills. If you can’t take photographs at your pre-program site, just do your best to take professional-looking photographs at home. Improvise!
What if I have extra information to send, like treatment reports, recommendations, etc?
Although tempting to send one more recommendation or some portfolio pages, only submit the required documents and information. There is not enough time for schools to read extras; they won’t, and it will have been a complete waste of your time. Spend that time proofreading your documents or beginning your portfolio.
What’s in a portfolio?
Focus your energy on submitting your application first, however it is good to maintain your portfolio during your pre-program experiences so that assembling one for your interview won’t be a daunting task. Portfolios are just as personal as your personal statements, so they can vary widely. There are basic things that each portfolio should include, but don’t be afraid to find a way to make it your own. Portfolios include: Table of Contents, C.V./Resume, Condition and Treatment Reports (treatments that represent your best work, as broad as possible), and Related Information (experiences that relate to conservation, like condition surveys, archaeological digs, curated exhibitions, etc.). More and more schools are allowing or demanding digital portfolios, but some do not. When the time comes to prepare for your interview, check which version the school prefers to see.
Get in touch with recent or current graduates from the program that you are interested in attending to gain their perspectives on the process. If your supervisor feels he/she does not have current information, contact ECPN, regional liaisons, or post on the ECPN Facebook page to find recent graduates.
There are also past blog posts on the AIC blog, conservators-converse.org, that provide good information, especially the series “10 Tips for Becoming a Conservator.” (To find those, type that title in the search bar to the right of this post.)
Application Deadlines:
New York University: December 18, 2013
Buffalo State College: January 7, 2014
Winterthur/University of Delaware: January 15, 2014
Queen’s University: January 31, 2014
Getty/University of California: This program accepts students every other year, and 2014 is an “off” year, so no applications will be accepted at this time.
*Stay tuned for follow-up blog posts on preparing for your graduate school interview (in late winter), and preparing for your graduate and post-graduate internship and fellowship interviews (in the spring)!
ECPN would like to thank the Education and Training Committee (ETC) for their valuable input, as well as the conservators at the National Museum of the American Indian.
New Certificate in Digital Curation at Johns Hopkins University
Conservators today, like all museum professionals with responsibilities for collections care and management of cultural heritage, a
re worried about the ongoing maintenance and documentation of digital artifacts along with the conservation of physical objects in their collections. Johns Hopkins University’s MA in Museum Studies has announced a new certificate program in digital curation starting in January 2014 to address the need for formal education in this emerging field of stewardship.
The Certificate in Digital Curation is a specialized graduate program designed to prepare museum professionals to manage the growing volume and variety of digital assets of long-term value that museums are now routinely producing, acquiring, storing and sharing. Assets that need ongoing management include born-digital media art, research data, and documentation information stored in collections management systems about physical collection objects. And because most museums are now investing significant resources in digitizing collections—new acquisitions as well as for the purpose of loan, pre- and post-conservation treatment, and presentation online—they have a growing need to preserve their digitized assets.
Digital curation is defined as the management of digital assets over their lifetime. While the term is not synonymous with the modern understanding of the role of a museum curator, it does reflect the historical definition of curator as “keeper” of collections. It is also in alignment with the growing international digital curation community dedicated to maintaining access to digital data of long-term value.
The JHU digital curation certificate program consists of six courses, including five online and one on-site internship. Class size is limited to 15-17 students to allow for stimulating discussions with classmates and faculty. The curriculum includes the following 13-week courses:
- Digital Preservation, which covers the principles of digital preservation and the basics of developing and assessing digital preservation plans;
- Foundations of Digital Curation, which particularly addresses the beginning of the digital life cycle, including topics such as appraisal and selection, metadata standards, and intellectual property issues;
- Managing Digital Information, which emphasizes the management of digital objects in museum environments, including format transformation, management of surrogates, and workflows;
- Internship in a museum or related organization, including at least 120 hours on-site and completion of a project or paper;
- An approved elective chosen from the MA in Museum Studies curriculum, OR a second internship; and
- A supervised research project leading to a publishable or presentable paper that contributes to the new literature of the digital curation field.
Admission requirements for the digital curation certificate are:
- A master’s degree in museum studies or other relevant field,
- A bachelor’s degree and at least five years full-time experience working in a museum, library, archive, or related cultural heritage organization, or
- Students enrolled in the JHU MA in Museum Studies program upon completion of 5 courses.
A grade point average of at least 3.0 on a 4.0 scale is required for admission (work experience will also be considered). International students are welcome, but please note that TOEFL for students whose native language is not English or who have not graduated from an accredited college or university in the US is required.
The deadline for applications for the spring semester (classes beginning January 22) is December 16.
We are excited about this new program, and we encourage interested conservators and other museum professionals to contact one of us! Our contact information is provided below.
Phyllis Hecht, Program Director, MA in Museum Studies, phecht@jhu.edu
Joyce Ray, Program Coordinator and Lecturer, Digital Curation Certificate, jray16@jhu.edu
http://museum-studies.jhu.edu
http://advanced.jhu.edu/digitalcuration
It shouldn’t be one or the other, but both working together
In her New York Times article, “A Real Pollock? On This, Art and Science Collide” (November 25, 2013), Patricia Cohen writes about the dispute between connoisseurs and forensic scientists about whether the painting, “Red, Black and Silver” (owned by Ruth Kligman) can be attributed to Jackson Pollock. It is a contentious issue and a positive attribution would mean an additional millions of dollars in value. Forensic analysis of fibers and other substances including polar bear hairs found on the painting placed its creation in Pollock’s home. However, Francis V. O’Connor, editor of the Pollock catalogue, says that this does not definitively establish that it was Pollock who created it there and argues that the shapes, compositional devices, and linear rhythms of this painting bear no relationship to those of any other work by Pollock. When it comes to attribution, it shouldn’t be one or the other but connoisseurs and forensic experts working together.
BROMEC 35 – Call for metal conservation research abstracts
BROMEC, the Bulletin of Research on Metal Conservation, requests research abstracts (max. 400 words) and professional meeting announcements (max. 75 words) for BROMEC 35, to be published online.
BROMEC continues to keep you up to date with metals conservation research activities between the triennial ICOM-CC Metal Working Group meetings.
Submissions can be made in English, French or Spanish – the BROMEC Editorial Team will translate and publish submissions in the three language versions of BROMEC. Refer to BROMEC 28 at www.warwick.ac.uk/bromec, where you can freely access all the previous issues of BROMEC. And for subscription to BROMEC: www.warwick.ac.uk/bromec-subscription.
We trust these simultaneous multilingual issues will increase communication across a greater cross-section of the world’s metal heritage conservation research community.
The final submission date is Wednesday, December 11, 2013, and contributions should be emailed to bromeceditor [at] gmail [dot] com.
–Submitted by James Crawford, PhD student, University of Warwick
The difficult philosophical questions never go away
In his essay, “Damage Control” (Harper’s Magazine, December 2013), Ben Lerner raises the touchy subject of the relationship between art and money. Focusing on acts of vandalism to works of art carried out by people who say they are artists, Lerner confronts us with the fact that vandalism that increases the dollar value of a work of art is not considered vandalism. Thus, when the Chapman Brothers purchased a suite of Goya’s “Los Caprichos” etchings, “reworked and improved” them, and sold them for $26,000 a print, they were creating art, while if my neighbor were to allow her fifteen year old son who enjoys making art to draw on the same set of prints, their value would be decreased and his act would be considered vandalism. If a conservator were to be given both sets of prints and not told anything about them, would that conservator feel that both sets required intervention?