Conference on "Conservation and Its Contexts" to be streamed live

As part of the Mellon Research Initiative of the Institute of Fine Arts, New York University, Jim Coddingto, Chief Conservator of The Museum of Modern Art has organized a conference on “Conservation and Its Contexts” which will take place on Saturday December 7, 2013 between 10am and 5pm. The conference will examine the emerging interactions between conservation and associated disciplines including art history, archaeology, and ethnography. The speakers will be Noemie Etienne, Mellon Postdoctoral Fellow, Institute of Fine Arts; Michael Gallagher, Sherman Fairchild Conservator in Charge of Paintings Conservation, Metropolitan Museum of Art; Fernando Dominquez Rubio, Assistant Professor in the Department of Communication, UC-San Diego; and GlennWharton, Clinical Associate Professor of Museum Studies, NYU.
For those who cannot attend in person, the conference will be streamed live at http://www.nyu.edu/gsas/dept/fineart/events/livestream.htm

Postgraduate Conservation Associate in Painting Conservation (Yale Center for British Art)

The Yale Center for British Art invites applications for a 12 month postgraduate conservation associate in painting conservation beginning in early 2014.  The successful candidate will be asked to study and treat a selection of works belonging to a collection of paintings bequeathed to Yale by the Libra Foundation, from the family of Nicholas and Susan Pritzker.  The majority of paintings are late mid-twentieth century works by British artists working in a domestic setting.  Among those represented in the collection are Gwen John, Vanessa Bell, Roger Fry, Duncan Grant, Henry Islander, John Minton, Keith Vaughan, Carol Wight, and Pamela Clough.  Treatment problems range from superficial cleanings, minor consolidations to a few more complex cleanings and structural repairs.  The opportunity for research is presented by the variety of surface finishes and varnishes on this twentieth century collection.
The work will be carried out in the painting conservation studio of the Yale Center for British Art, New Haven, CT.   Candidates must have advanced degree in Conservation, or have equivalent experience, and be legally entitled to work in the United States.  Preference will be given to applicants applying within three years of the award of their degree.
Stipend for the position is $ 36,000 per annum, plus benefits.
Please submit the following no later than December 20, 2013:

  1. Cover letter describing career goals and why this position is of particular interest to you.
  2. CV
  3. Three (3) letters of recommendation

Interview with portfolio will be required
Applications should be sent electronically to:  mark.aronson@yale.edu
Mark Aronson
Chief Conservator
Yale Center for British Art
P.0. Box 208280
New Haven  CT  06520
All candidates applying for positions at the Yale Center for British Art will be subject to pre-employment screening. All offers are contingent upon the successful completion of a background and credit check.

ECPN September 2013 Meeting Minutes

ECPN MEETING

Tuesday, September 10, 2013 | 12-1pm ET

 
Network Members in Attendance:
Eliza Spaulding (Chair)
Michelle Sullivan (co-Professional Education and Training)
Anisha Gupta (Webinars)
Saira Haqqi (co-Outreach)
Carrie McNeal (co-Outreach)
Fran Ritchie (co-Communications)
Ryan Winfield (AIC Staff Liaison)
Ruth Seyler (AIC Staff Liaison)
Stephanie Lussier (AIC Board Liaison)
 
Members Unable to Attend:
Megan Salazar-Walsh (Vice-Chair)
Ayesha Fuentes (co-Professional Education and Training)
Kendall Trotter (co-Communications)
 
Non-Members in Attendance: Daisy Demarche
 
 
Agenda:
 
Meeting minutes from July 1, 2013 were approved.
Discussion of AIC conference:
Eliza -For the 2014, we should think about what activities we could offer our emerging community to incorporate as many people as possible (pre-program, grad students, post grad).  Perhaps we could alternate portfolio session every other year so we can add new activities to the conference.  Thoughts on the potential ideas listed?
 
Carrie- Likes the ideas of speed networking, career coaching, and the idea to alternate portfolio sessions, but expresses concern over compensation for those helping with the networking and coaching, etc.
 
Eliza- Although not specifically discussed yet, these ideas are from the AAM conference that she and Molly attended, where they were all volunteer roles and carefully curated selections.  We’d want to do it similarly.
 
Saira- Agree on idea of having portfolio session every other year— more geared towards pre-program, whereas other programs geared more towards graduate and post graduate, so hitting two different groups.
 
Eliza- Good points, when thinking about the annual conference, we must meet as much of our demographic as possible.  Poster to address digital portfolios could be the portfolio side to it, helping pre-program (and others).
 
Michelle- There was original discussion over the digital portfolio poster being more effective if paired with a session, but since it’s digital (not traditional portfolio), it takes it beyond pre-program.
 
Stephanie- Expectations for ECPN at the annual meeting…ECPN has had happy hour and informational meeting, and session (portfolio the last couple years).  Unlikely that we could have two programs (one portfolio and one on networking/resume/coaching), so think about crafting a program that meets the needs of all, or alternate years for reaching pre- and post- graduates.  With the speed networking and coaching, it’s possible to engage the entire demographic.  Emerging post grads can meet with pre program, and then senior conservators can meet with emerging post grads.  This can be a customized experience, the big thing would be finding the right people to participate.  Seems like there are many willing.
 
Saira- sounds like Stephanie addressed concerns about reaching out to all demographics.  The conference (and our session) is an opportunity for pre-programs to meet other people. Important to reach that demographic as well.
 
Eliza- Yes. And in terms of the poster on digital portfolio, it seems like the poster can be on its own (not with a session).  I would encourage you to continue working on abstract.
 
Carrie- Reiterate that the digital portfolio poster is something that AIC was interested in having for a talk, so there is interest within the broader community.
 
Eliza- Also agree that it would be great to have continuity of programs from last AIC’s (so happy hr, info meeting, poster) and then other dedicated program would be coaching/speed networking.  Personally leaning towards speed networking because it was a fun and great way to meet other colleagues and practice introductory skills
 
Ruth- New idea- occurs to me that one idea is that it might be possible to combine networking and coaching into one session.  This year there won’t be very many specialty groups doing lunches, so possible to put specialty groups on one day and have this as a lunch session in an atrium space that they can close off very well, but fun open space with lots of windows (huge, but can’t present in it).  Perhaps speed network from 12-1, then coaching/resume review after that. Provide to volunteers who do this a boxed lunch on ECPN’s dime. A two hour time block that people are in the space.  It will just take time to line everything up.  If want to, take those events and put under one umbrella because they are similar and similar in set up.  Maybe combine the info. meeting and portfolio? (If possible to do portfolio without a/v equipment.)
 
Eliza- Great idea to fit in both; the way you outlined it would be perfect.
 
Ruth- Be in good shape to get volunteers since less formal lunches for specialty groups this year.
 
Eliza- It would be hard to eat and network, though; we’d have to think about participants.
 
Anisha- if we played with idea and did, depending on timing, eating during an intro to ECPN, and then go into the other programs. Think about a way to work around it/work in eating.
 
Ruth- Could do boxed lunches at start, or if divided into two sessions with a break in the middle.  And it depends on how many set ups we have…probably in an area where can have lunches/round tables during a 30 min break.  For example, one session 12-12:40, then lunch, and then a second session from 1:15-2.
 
Eliza- That could be a good way to make it work.
 
Carrie- Good idea to switch up conference programs and people might want to see something new.
 
Michelle- Sounds like a great idea, rich program with a lot to offer the demographics of our membership.
 
Eliza- Let’s plan on that; we can start to develop the programs. Anything else for AIC conference, Ruth?
 
Ruth- Might want to think about it you want a happy hour in the hotel, or outside the hotel, since we’ll be close to so many things.  This hotel doesn’t have a fun bar like the one in Indy did.  But the advantage to having it in the hotel is that people arriving can see the event based on where bar is.  But might be possible to get some space/bar with a water view.   We can think about how to put it on the registration form (like a box to check) so we can make people aware of it really early on.
 
Eliza- I can share with Ruth how AAM ran it and see what she thinks.
 
Status of liaison program
Carrie- For the regional liaisons… Been in touch with those listed on Writeboard and updated for people who have confirmed that they’d like to stay on and where they’re located. (And where we need to find new ones.)  Current concern is that don’t have very many; have large areas covered but need to ramp it up a little bit.  May be good to reach out to Facebook community and see if we could get some interest from people in different areas to get them on the list.  In the meantime, working on creating a toolkit for them, and after it gets fleshed out, we’ll share.  It’s a package of resources, like suggestions for workshops/happy hr/activities, info on ECPN in general, report form for liaison if they do have an event so we can know how it’s going.  Once complete, we’ll send toolkit to liaisons and then schedule a conference call with liaisons (Saira and Carrie) to talk about ideas and programs in general; what expecting to get out of it.
 
Eliza- Sounds good, not just regional, but also specialty groups and graduate program liaisons.  Making a list of those we need? Yes.
 
Saira- For the grad school liaisons… Those from Columbia and UCLA graduated or gone, so asked them for suggestions for new liaisons.  Have a list of students from each program.  Want to find a way to connect pre-program people with liaisons.  What about a pre program “Dear Abby” on the blog so we can send questions to all grad school liaisons and pass around to get answers.
 
Anisha- Excellent idea.  Thinking when I was pre program and don’t want to contact specific person, so just want to know what everyone’s experiences are at different places.  Maybe a dedicated gmail account for grad liaisons where people can send e-mails and liaisons check and answer? But column idea sounds better.  More fun to get conservation opinions and a range of responses.
 
Eliza- And having that live on the blog?
 
Carrie- yes, a sort of Dear Abby post every other month.
 
Eliza- Curious to see how open people feel on a platform like AIC blog. Could be fun to try and see what response we get.
 
Carrie- We would definitely be careful about which questions to answer on blog- mostly general questions on how the programs are structured and keep as positive as possible.
 
Anisha- There has been an interesting discussion on the Facebook page that got several comments.  Moving this discussion to the blog would be more formal, but could get the questions from Facebook answered on the blog.
 
Eliza- Thinking about that, too, that this dialogue already happens on Facebook. What is the advantage of doing it on blog vs. Facebook?
 
Saira- Well, it seems like the same conversations on Facebook were started by pre program people and a lot of people were responding by saying message me to talk about it.  In a private message, the woman said she only knew about the Buffalo program because that’s the only program where she knew people.  So if she hadn’t reached out, she wouldn’t know more about other programs. There’s no other way to get that info., plus the blog is searchable, (meaning we don’t have to answer same question multiple times) and read by more people.  We will have limitations because there will be questions we can’t answer on the blog.  We need both- to put people in touch with private messages and answer basic questions with a general blog.
 
Eliza- Was thinking the same thing.  Good idea, just continue to think about it.   We’re also trying to build up written resources that we have, to make a bank of resources that we can link people since we’re often fielding same questions.
 
Carrie- Agree with idea of blog being searchable and a big advantage.  Also, Facebook can be overwhelming and easy to miss things when more activity on the page.   Putting it all in blog with searchable fields that people can go look it up would be good.  (Facebook isn’t searchable.)
 
Eliza- And true, blog read by more of the conservation community than Facebook page.  At this point, good idea.  Can you write up something to envision how it would work? Share with group and then we’ll evaluate once more.  And good to involve graduate liaisons more.  Do you feel like we have a sense of liaisons we need to find?
 
Carrie- We have liaisons in places where didn’t know we needed them, so we were thinking it might be effective (or a mess?) to reach out to Facebook to see if people are interested in working with the liaison program.  Any more suggestions with how to go about that?
 
Anisha-Based on experiences from last year, you’d be surprised that if you don’t specify a city, you don’t get as many responses.  Maybe try a specific city or ask if someone knows of someone.  Announce on Facebook, never know, could be a good way.
 
Carrie- So reach out to specific cities (for example, Austin), saying if anyone in Austin is interested would be better than a general call for liaisons?
 
Anisha- Recommend trying anything because nothing was super successful.
 
Eliza- Anisha, thanks for sharing your experience from last year. Maybe double up efforts to see if people who stepped down have someone in mind?
 
Carrie- Did get some recommendations that way, but I think that resource may be exhausted at this point.  Will try various options to see where get a response.
 
Eliza- Good to have dedicated liaison call, but we try to include them in every other call, so November call can be a liaison call. We’ll tentatively aim for that and see how it goes.  Thanks for all good thoughts on that.
 
Status of mentoring program:
Eliza brought up the mentoring program from Megan, who could not call in.  This will be a big conversation, though, and will be saved for later discussion.
 
Webinar Update:
Eliza- Anisha, was just talking to Stephanie about the technology for the next webinar.  As things stand, seems like it would only work if Tom initiates google hangout and then go to webinar, putting all tech burden on Tom, not us. Thoughts on switching gears and just doing go to webinar with a straightforward PowerPoint?
 
Anisha- It would be nice if we had control, and since working with Eric, feels like would be nice to have central location to control it, especially with four speakers. (Thus adding more stress.)
 
Eliza- So we could email people letting them know this is our plan moving forward (to just use Go To Webinar)? We could ask each speaker for a few photos of their studios/ working with people, etc.
 
Anisha- Yes, some kind of visual as they respond to the questions.  We could put our group questions as text (and to keep us on track)… but it would be nice to have string of photos to go with any topic.
 
Eliza- We’ll see how many pictures people will share with us; nothing elaborate.  Simple slides with some information and visual stimulation. Let’s plan on that.  And when are we able to schedule next practice call… next week?
 
Anisha- Just sent a poll for the next practice call… trying to set it up.
 
AIC Lead Article
 
Eliza- AIC lead article. I encourage everyone to read it, as this week is last week to work on it and it’s our first lead article.  Thoughts to share on it? Especially the implications and recommendations section, but it will be richer with a diversity of opinion.  Eliza will work with Michelle this week to edit.
 
Michelle- Wouldn’t want to do without other people’s input.
 
Eliza- Sent article last night to several people for input and asked if they could get back by Friday.  The 2 people who have already responded didn’t have substantial comments. This weekend will be big on editing.
 
Review of roles
Eliza- Anyone have any questions or comments on their roles as we’ve settled in?
 
Michelle- It has been difficult to catch up with Ayesha, but we’re going to focus on different projects and that should make it easier.
 
Eliza- Email any questions.  Keep in mind that we’re in these roles until next meeting, so next year would be great to have continuity.   Think about this as settle into role- would you be interested in continue to work on next year? Just think about it and we’ll discuss mid-year.
 
Confirm next call: Tuesday, November 12th, from 12-1. 
 
Respectfully submitted by Fran Ritchie

Oppose Devastating Cuts to NEH!

Now that the government shutdown is over and Congress is beginning new budget negotiations, the proposed 49 percent cut to the National Endowment for the Humanities is back on the table. Just two weeks ago, one of the budget negotiators invoked the cut as he questioned the appropriateness of NEH grants. You can make sure that his are not the last words that our elected officials hear on the value of NEH by sending a message today.
We need you, your friends, and your colleagues to send messages in support of renewed investments in the humanities. Thousands of messages from advocates helped to put the proposed cuts on hold this summer, and by sending this new message, you can oppose the cuts and help restore NEH’s critical support for the humanities.
Lend your name to the effort by sending a message to your elected representatives.
Click on the link below to send a message:
http://cqrcengage.com/nhalliance/app/write-a-letter?0&engagementId=28058
Help us reach more advocates by sharing this message with your friends.
Background

In its FY 2014 budget resolution, the House of Representatives Budget Committee called for the complete elimination of funding for the National Endowment for the Humanities, writing that the programs funded by NEH “…go beyond the core mission of the federal government, and they are generally enjoyed by people of higher-income levels, making them a wealth transfer from poorer to wealthier citizens.” The House subcommittee that oversees the NEH’s appropriation has followed through on the spirit of this resolution by approving a 49 percent cut to the agency’s budget.

Funding for NEH is already at just 29 percent of its peak and 62 percent of its average.
After years of deep cuts, the Obama Administration has proposed restoring some of NEH’s capacity with a 12 percent increase in funding.
Click on the link below to send a message:
http://cqrcengage.com/nhalliance/app/write-a-letter?0&engagementId=28058

If you're going to be in Chicago in mid-February…

There will be sessions of particular interest for conservators at the 2014 annual meetings of the American Association for the Advancement of Science (AAAS)  and the College Art Association (CAA), both of which are to take place in Chicago in February—the CAA from February 12-15 and the AAAS from February 13- 17.
At the AAAS meeting on February 14th  from 10:00- 11:30am there will be a session on “Preserving Our Cultural Heritage: Science in the Service of Art”, organized by Nicholas Bigelow and Leonor Sierra of the University of Rochester and from 1:00- 2:30pm there will be a session on “Reconstructing and Deconstructing Paintings: Innovations At and below the Surface”, organized by Francesca Casadio of The Art Institute of Chicago and Katherine Faber of Northwestern University.
At the CAA Meeting on February 12th from 12:30- 2:00pm there will be a “Learning to Look Workshop” on the technical aspects of Claude Monet’s Paintings to be held in the galleries of  the Art Institute of Chicago (which I have organized) and from 2:30- 5:00pm there will be a session on “Secrets of the Old Masters: Materials, Manuals, and Myths” organized by Kristin Renee deGhetaldi and Brian Baade of the University of Delaware. On February 15th at 9:00am, there will be a Public Art Dialogue on “Vandalism, Removal, Relocation, Destruction: The Dilemma of Public Art’s Permanence”, organized by Erika Doss of the University of Notre Dame.

Read the November issue of AIC News now!

AIC-News-Online-Nov
What contains…

  • An article discussing the many online resources for conservation research?
  • A description of a Socratic Dialogue session conducted at the 2013 AIC Annual Meeting?
  • Important updates about the MSDS and chemical safety?
  • Links to many new conservation webinars?
  • A list of eight publications of interest to conservators?
  • Notification of the latest student research?
  • And three new position and fellowship announcements?

The November 2013 issue of AIC News! It’s one of the many great benefits of AIC membership.
This issue is now available online and as a pdf. Members should check their email for the information, or visit www.conservation-us.org/aicnews to get access to the latest issue (members must log in first). Note that the conferences, call for papers, and workshop listings are updated as they come in, and may contain more in-depth information than is included in the PDF version.
Submissions for the January issue should be sent by December 1st to me or Lisa Goldberg. Happy reading!
–Bonnie
www.conservation-us.org/contact

A Living Legacy of Preserving Art

e d i t o r’s n o t e from FAC_logo
The holiday season now fast approaching is that time of year when Hollywood’s better films are released. One that I particularly hope to catch is The Monuments Men, which features an all-star cast headed by George Clooney and Matt Damon. Clooney has not only directed and co-produced the film, but co-adapted its screenplay from the bestselling book published in 2009 by Robert M. Edsel and Bret Witter, The Monuments Men: Allied Heroes, Nazi Thieves, and the Greatest Treasure Hunt in History.
The film and book tell the remarkable true story of a team of American and British art conservators, historians, and curators who worked fast, and effectively, to protect European artworks and monuments during and just after World War II. Clooney bears an uncanny physical resemblance to the man he plays, George Stout (1897-1978), who, before the war, had headed the
groundbreaking conservation department at Harvard University’s Fogg Art Museum.
Read the rest of Peter Trippi’s Editor’s Note column from the November/December issue of Fine Art Connoisseur here.
About Editor Peter Trippi
Peter Trippi has edited Fine Art Connoisseur since 2006. Previously, he directed New York’s Dahesh Museum of Art, which specialized in 19th-century European academic painting and sculpture; before that, he held senior posts at the Brooklyn Museum and Baltimore Museum of Art. In 2002, Phaidon Press published Trippi’s monograph J W Waterhouse, which reassesses the Victorian painter best known for his Lady of Shalott at Tate Britain. Trippi went on to co-curate the Waterhouse retrospective that appeared 2008-2010 in the Netherlands, England, and Canada. He is currently president of Historians of British Art, former chair of the Courtauld Institute of Art’s U.S. Alumni Group, and a board member of the Association of Historians of Nineteenth-Century Art, American Friends of Attingham, and Foundation of the American Institute for Conservation.
PeterTrippi200w

The allure of the damaged

In the recently published novel, “Asunder” by Chloe Aridjis (Mariner Books), Marie, the main character, is a guard in the National Gallery in London where her great-grandfather had been a guard. As the novel progresses, Marie becomes increasingly fascinated by the craquelure in the paintings’ surfaces. Are people in general more attracted to the damaged work of art than to the perfect and whole?

How to make the most of your pre-program internship webinar: follow-up questions

On September 24, 2013, the Emerging Conservation Professionals Network (ECPN) hosted an hour-long webinar titled “How to make the most of your pre-program internship.”
The program featured two supervisors, Tom Edmondson, Paper & Photograph Conservator in private practice in Kansas City, Missouri, and Emily Williams, Conservator of Archaeological Materials at The Colonial Williamsburg Foundation, and two former pre-program interns, Ayesha Fuentes, Conservation Intern in the Division for Cultural Properties at the Department of Culture in Thimphu, Bhutan, and LeeAnn Barnes Gordon, Manager of Programs and Events for the American Schools of Oriental Research. During the program, the speakers shared their experiences as supervisors and pre-program interns, respectively; contributed to guided questions; and answered audience questions.
Included below are the questions that could not be addressed during the program with responses from the speakers.
To view the webinar, visit: http://www.youtube.com/watch?v=aBZiIoBYprE
For speaker biographies, visit: http://www.conservators-converse.org/2013/09/how-to-make-the-most-of-your-pre-program-internship-about-the-speakers/
For other related blogposts, visit:
http://www.conservators-converse.org/2013/09/how-to-make-the-most-of-your-pre-program-internship-online-resources-from-ecpn/
http://www.conservators-converse.org/2013/10/financial-resources-for-pre-program-conservation-interns/


When searching for a pre-program internship, do you recommend that students seek recommendations for institutions or names of private conservators from the graduate programs in conservation?
Tom Edmondson: Yes, because they will refer you to those whose pre-program interns they have accepted on a regular basis because of the quality of the training experience. Other options are to contact the closest major museum and inquire there of internship options either there or with the nearest private practitioner that they recommend.
Ayesha Fuentes: It would probably be more efficient and informative to contact the students or ECPN about their experiences. They were successful as applicants and have many different types of backgrounds.
LeeAnn Barnes Gordon: I suppose that would be one way to find them. Other ideas that come to mind are the ECPN mentoring program or using the AIC Find a Conservator tool to find individuals and labs in your area.
How can pre-program interns gain experience in a specific specialty in an institution or with a private conservator?
Tom Edmondson: Well, you have to know what specialty you want and then seek that out.  I don’t recommend that myself. The whole point of the programs is to expose you to everything and then you pick your specialty. I recommend just finding an internship. That will get you started and let you know whether or not conservation is for you. Not everyone who likes conservation can be or even should be a conservator. Be open to any opportunity because it will open doors, even if it isn’t the specialty you think you want to do in the end.
Ayesha Fuentes: Ask them if they’ll take you as an intern? I think it’s more important to be open and flexible when you’re just starting out. You’ll have plenty of opportunities to track down that special person when you’re in school or after, if they have a skill or practice you’d really like to learn eventually.
LeeAnn Barnes Gordon: If a pre-program intern wants a specific type of training or instruction, then it’s my opinion that they should be as forward about their interests as possible. Although, it seemed to me that being flexible and open to a wide range of opportunities offered me the most internship possibilities and gave me a broad knowledge of conservation.
What skills are the graduate programs in conservation looking for in pre-program experience?
Tom Edmondson: Others who have been through the programs can better answer this (since I didn’t benefit from that aspect), but my sense is, EXPERIENCE. Demonstrated commitment, follow-through, understanding of what the field is about meaning a true intellectual grasp of the principles and philosophy. But, I also sense that it can matter with whom or which institution you did your internship. Short version: hand-skills, problem solving, awareness of the difference between what needs to be done and what would be nice to do, sensitivity. I’m sure there is more that others can add.
Ayesha Fuentes: I’m not on an admissions committee but whenever I meet applicants or pre-program people, I always look for self-presentation, people skills, and curiosity. Learn how to shake hands properly. Otherwise, I really enjoy and encourage a wide variety of skills, experience levels, and areas of knowledge in applicants.
LeeAnn Barnes Gordon: I’m not exactly sure, but it seems to me like one of the most important aspects of the pre-program experience is to help individuals to better understand what a career in conservation entails and whether that is a good fit. Therefore, it follows that the graduate programs would want to see someone whose experiences demonstrate their persistence, determination, and passion for conservation.
If one finds their personality is incompatible with their supervisors, what is the best to navigate that situation?
Tom Edmondson: Well, if the supervisor is any good she/he will be aware that there is an inherent problem and will address it immediately. If not, then the intern needs to have the self-confidence to bring it up in a non-confrontational manner and request a referral to another situation. If the situation is toxic enough that a decent referral is not likely then simply exit and start over. A bad internship is not the end of the world. There are bad supervisors out there, but many more good and nurturing ones. This is an excellent and important question.
Emily Williams: Talk with the supervisor about your goals and those of the lab. Sometimes people who aren’t otherwise terribly friendly can work well together to realize shared goals. If you know anyone who has worked with the supervisor before, talk to them about their experience. Keep the conversation positive—what did they learn, were there particular approaches that really worked for them? If nothing else works and you feel that you are in an environment where the personality clash keeps you from learning explore other internships.
Ayesha Fuentes: If it is worth it to you to continue learning in that situation, suck it up and remember that this is a small field. You will meet that person again. Or give yourself a deadline: If the internship is too challenging, person-to-person, after another month or so, and you feel that you aren’t learning as much as you’d like, you could look around for another opportunity. My only other comment is that I have learned a great deal from people whose personalities I don’t enjoy. Indeed, those were some of my most valuable lessons.
LeeAnn Barnes Gordon: If it is causing a problem (for example, the intern feels that the supervisor won’t provide them with a positive recommendation for grad school), then it may be time to move on.
If an intern has to have an additional paying job to support herself, would you be willing to offer an unpaid internship for only a few hours a week?
Tom Edmondson: Here at Heugh-Edmondson Conservation Services we prefer a minimum of a single 8 hr. day, but we have worked out up to 3-4 hr. days because the intern was coming from KC Art Institute. Usually it has been an 8 hr. day. How it gets worked out is very subjective, and we deal with it on an individual basis. So, short answer is yes.
Emily Williams: Because many of our internships are unpaid we frequently work with the interns to figure out a schedule that works for them. Generally I ask interns to try to schedule time in the lab in at least 4 hour blocks (because less time than this makes it hard to teach a skill and actually start to execute it). I also prefer that the intern generally come on the same day (i.e. Mondays) rather than whenever they can because it makes it easier for me to plan activities.
Ayesha Fuentes: I’m not an employer or mentor but I worked full-time as a pre-program intern and was lucky enough to find a few positions that worked with my schedule. Sometimes it seemed best to just call or email my (private practice) mentors periodically and check if they had projects that needed extra hands. It means the hours are irregular but can also work well for both the intern and the mentor. And once they know you are reliable, patient, and flexible, they might start calling you when they have extra work or recommend you to other colleagues.
LeeAnn Barnes Gordon: In my personal experience, I had several internships that were only a few hours/week; especially when I was just starting out.
Do you think it’s advantageous to stay with one internship for a lengthy period or vary your experience in different internships?
Tom Edmondson: In my opinion this depends entirely on the individual. One who knows from the get-go that she/he wants and is totally committed to a particular specialty should have at least the majority of experience in that area. But I don’t encourage people to pre-commit because experience can lead to a change of direction. Get as many experiences as is reasonably possible.  The important thing is to learn as much as possible. But, variety helps, and having a mix of private and institutional experiences will be helpful.
Emily Williams: I think that there are advantages to both approaches. Pre-program internships are your opportunity to experiment and try new things. Just because you think that paper conservation is where your interest lies doesn’t mean that you won’t find tips in another lab or discover a passion for architectural materials you never thought you possessed. Getting a diversity of preprogram experiences helps you to see the big picture in conservation, to see the ways that different supervisors approach similar problems and to appreciate different aspects of the field. On the other hand, interning in one area for a longer time is likely to offer other valuable experiences. As supervisors get to know an intern and develop comfort with their skill level, it is likely that the intern will be exposed to more complex treatments or given greater responsibility within the lab. This cannot only look impressive on an application but it can also be a valuable test for the intern. If they find that they feel stressed by the level at which they are asked to work they may want to reconsider a career in the field or look at other areas of conservation. Above all (to me, at least) pre-program internships are about self-discovery—do you want to work in this field? Do you like the work? What aspect appeals to you most?
Ayesha Fuentes: I’ve seen and heard of both. It’s an advantage to stay with one place for a while because you gain trust and start to develop a consistent working method, which is great. On the other hand, you gain a lot from working in different environments, around different types of people and that kind of flexibility can be really useful to both you and future colleagues/employers.
LeeAnn Barnes Gordon: I think it’s important to have more than one pre-program internship, but I don’t know if it’s necessarily a “requirement”.
Any tips on effectively and concisely articulating internship experiences for CVs, application materials, etc.?
Tom Edmondson: Don’t exaggerate. Good grammar (which may be lost on many, sometimes even on me). Good organization. Mostly, though, clear and accurate.
Ayesha Fuentes: All I can say to this is that I never want to read a sloppy CV. Keep it tidy and literate.
LeeAnn Barnes Gordon: Good organization. Follow the standard conventions.
How do supervisors generally divide time between direct supervision and giving students projects to complete on their own? What do the students prefer?
Tom Edmondson: We start with the matting project, once it has been introduced and explained the intern should be able to proceed on her/his own with occasional questions and need of guidance using the mat cutter. We then move on to dry surface cleaning techniques as a preliminary treatment procedure. We encourage the development of self-confidence but not the right to decision making until much later in the internship. It evolves naturally here.
Emily Williams: The amount of direct supervision I give a student depends in part on the project.  Some projects require very close collaboration and significant oversight. Others may build on skills that the intern already has. I have to acknowledge that my schedule (as the sole conservator in the lab) also plays a role in the amount of supervision an intern gets in a week. If it is a particularly busy/meeting heavy week for me I will try to check in in the morning and early afternoon and see if there are any issues that need resolving but may need to defer extended hands on supervision to the next week. Each intern has a tray of small objects (simple copper alloy buttons, robust iron objects) in the lab that they can always return to if they reach a stopping point on a more complex object or run out of other things to do. These objects are beneficial in several ways but primarily as reminders of skills that the interns have mastered so that if they are feeling frustrated with more complicated objects they can take a (small) step back and rebuild their confidence.
Ayesha Fuentes: I think that’s up to the student. In my cohort, there were those of us who wanted each step to be a conversation with an instructor and there were those of us who really preferred to be left alone to experiment. A student should always ask if they have a concern, even if it seems stupid, obvious, or they already told you and you forgot. Make sure you’re clear on the instructions beforehand, whatever that takes for you.
LeeAnn Barnes Gordon: I preferred having a supervisor who walked me through a task that I was going to perform, and then was on hand for me to ask questions as they arose. I’ve never liked having a supervisor stand over my shoulder, but I certainly got used to it in grad school.
If an intern feels overwhelmed, how can the intern convey that sentiment without sounding as if they no longer want additional opportunities?
Tom Edmondson: The sense of being overwhelmed with what is involved with the conservation of historic and artistic works will probably never go away. It is a huge responsibility, and the best way to address it is to just say so and ask for advice. A good supervisor will be sympathetic and will provide guidance. If not, voluntarily move on to a new situation.
Emily Williams: The best approach is to talk candidly with your supervisor about what you are feeling. To be honest, if an intern is feeling overwhelmed, it is usually apparent to the supervisor, before a conversation is initiated by either side. The supervisor may not have brought it up because they were waiting for the intern to articulate what they are feeling and why or they may have been trying to give the intern some time or space to re-center.
Before initiating a conversation, try to think about what is making you feel off-balance and what if any solutions you can picture. Is this a short-term issue that might be resolved in the near term (for example when a difficult class is completed)? Is it a problem that is external to the lab (such as, health issues, scheduling issues) or internal to it (for example, is the project pace too frenetic; do you feel that you haven’t learned enough to do what is expected to you)? Diagnosing the issue and offering solutions shows that you want to be an active partner in resolving the issue and getting to a point where you can accept additional challenges and opportunities.
Having initiated a conversation, listen carefully. Your supervisor may have additional suggestions or solutions. Agree on steps you might take and if possible a timetable.
Finally, make sure you implement the solutions. Check back in with your supervisor periodically (say in 2 to 4 weeks depending on how frequently you are in the lab) to let them know whether the solutions are helping and whether you are still feeling overwhelmed or the issue has been resolved.
Ayesha Fuentes: Tell them you need more time on whatever you’re working on that’s overwhelming you before moving on to the next thing. Tell them you want to make sure you’re doing a good, thorough job and absorbing everything since you’re there to learn.
LeeAnn Barnes Gordon: Honesty is the best policy. I don’t think that a good mentor would judge an intern too harshly for these types of feelings. I would speak up in regard to the workload – when you want more or less, etc.
What can a pre-program intern do to develop their skills in terms of discussing a treatment both verbally and in writing while creating their portfolio? What sort of research and resources are available to expand my knowledge?
Tom Edmondson: In my opinion this is one of the primary responsibilities of the supervisor.  A good supervisor will introduce you to a basic examination and development of a treatment protocol, and then let you do another similar one on your own, with a critique. And as time allows, an exposure to gradually more complicated projects. We allow our interns access to our database, which is FileMaker, so that they become familiar with how we do our examinations/condition reports/treatment proposals. We request that they follow our models, but we allow them to write in their own style. When appropriate we encourage online searches, where a great deal of information is now available. We also engage in a lot of open dialogue with our interns, with a lot of exchange and feedback in both directions encouraged.
Emily Williams: Talk to people about treatments. Listen to what they say about their treatments and how they word things. Attend local conservation guild meetings. Show samples of your writing to your supervisor and to other conservators you trust and listen to their suggestions. If you receive conflicting advice, ask both parties to explain why they made the suggestions they did (some conflicting advice may be inherent in the way that different specialties or programs approach documentation).
Ayesha Fuentes: Practice and watch other people do it. This is a large part of grad school, at least in my program. Reading articles on treatments helps a great deal as well, for vocabulary and presentation of info. However, I remember looking at the cover of the JAIC in despair before grad school because I couldn’t understand anything they were talking about. It’s just a matter of time and exposure and you should never feel embarrassed to ask what something is or means or does.
LeeAnn Barnes Gordon: I would ask your mentors to see examples of their reports.
How many pre-program internships should one plan to have before applying to graduate school?
Tom Edmondson: As many as it takes. Sometimes one long one is all that it takes, other times 2, 3, 4. I think it all depends on where and/or with whom you have interned. I recommend at least one year of “full-time”, i.e. 4 days a week, on top of any required preliminary time. We usually have an intern for a semester or two working 1-2 days a week, and then when they graduate we try to hire them as a pre-program technician, when we expand the training, and give them time to take the sciences that are required. The competition for admission into the programs is increasingly intense and the bar keeps getting raised. Study the programs and how each is designed, determine which is best suited to you, and plan your pre-program experiences accordingly. Get advice from the programs, normally they are helpful.
Emily Williams: I think it really depends on the intern and the other experiences that they bring to the application process, and the ways they can relate those experiences to conservation.
Ayesha Fuentes: I think it depends entirely on the applicant and experience. In my cohort there were some who only did one, full-time for a period and others who worked a number of different, shorter gigs.
LeeAnn Barnes Gordon: As many as it takes to get the required internships hours and then some.
What documentation of internship experience is required when applying to graduate programs? What kinds of experience count towards an internship? For example, could preparing posters for conferences, independent research, etc. be considered?
Tom Edmondson: Your application essay should stress your pre-program experience(s) as that is the foundation of your argument that you should be selected. A letter of support/recommendation from your pre-program supervisors is appropriate and necessary, unless your experience with one of your supervisors was less than successful. Your experiences should reflect your interests, including working with appropriate private conservators, working in institutional settings, etc.  And yes, preparing posters for conferences and independent research should be included in your supporting information. Just be sure that it is all pertinent and an accurate reflection of what you have done.
Ayesha Fuentes: I think it should all be considered as valuable but, of course, you have to be able to articulate clearly and concisely why or how that experience has prepared you for grad school and a future career as a conservator. What skills did you gain? What have you learned about the field or yourself from those experiences? Learning to document your work is a large part of training and pre-program work. Ask your supervisors, if you feel comfortable, to take a look at your portfolio or help to start one.
LeeAnn Barnes Gordon: Take as many photographs as possible. Always keep a log of your hours and possibly a journal of what you did when you went to your internship. It’s my understanding that the types of activities that count toward your internship hours are those that were directly supervised by a practicing conservator. The types of activities that count toward your internship experience could include may things like conference and independent research, but I would NOT count those toward your internship hours.


Thank you to everyone who submitted a question, and to the speakers for their thoughtful responses! We encourage you to continue the conversation below by submitting a comment.

Contemporary Print Identification Workshop

Print workshop looking at Intaglio-Type prints brought by Keith Howard
Print workshop looking at Intaglio-Type prints brought by Keith Howard

I was very happy to be part of the group of paper conservators gathered in Washington, DC from October 16th- 19th, 2013 for an in-depth study of print identification.
On day 1 and the first part of day 2, the workshop hosts Scott Homolka and Stephanie Lussier, led us through the different categories of print processes, starting with traditional, familiar techniques; then looking at examples of variations and recent developments that might be harder to identify unless you know what you are looking for. We also had several guest lecturers on day 2. Shelley Langdale, Associate Curator of Prints and Drawings at the Philadelphia Museum of Art, gave a lecture on the history of American printmaking studios in the 20th century. Keith Howard, Head of Printmaking and Research at the Rochester Institute of Technology, and Bernice Cross, master printmaker and owner of White Cross Press, brought in examples of contemporary prints created by them and their students in a variety of techniques for us to examine closely. Keith Howard invented the field of non-toxic printmaking with a process he named Intaglio-Type. He has published several books about his techniques and kindly gave each participant a copy of his most recent one, entitled The Contemporary Printmaker: Intaglio-Type & Acrylic Resist Etching, which is considered an essential manual by many people in the field of printmaking today. Lastly, the three printmakers behind the printmaking website Printeresting; Amze Emmons, R.L. Tillman and Jason Urban, gave a talk about the world of printmaking today.
Scott Homolka explains Richard Serra's process of applying paintstick through silkscreenScott Homolka explains Richard Serra’s process of applying paintstick through silkscreen
Day 3 was spent at the National Gallery of Art. Lucky for us, the government shutdown ended just in time to spend our final day at our planned venue. Our first exercise in the morning was to identify the processes behind some prints in their collection. Some of the prints were particularly tricky, while others were deceptively easy. Then we went to the galleries for a tour of the exhibit Yes, No, Maybe: Artists Working at Crown Point Press given first by the curators Judith Brodie, head of modern prints and drawings, and Adam Greenhalgh, Andrew W. Mellon Postdoctoral Curatorial Fellow; then by one of Crown Point Press’ Master Printers, Emily York. This show features both working proofs and final prints in order to show the process that goes into making a print. Not all of the projects resulted in a print that the artist considered exhibitable, but all showed the creative and technical process behind the creation of prints and in some cases expanded what was possible in printmaking by pushing at the boundaries of the techniques.
Then it was back to the lab to look at Marian Dirda’s collection of printmaking papers from the late 20th and early 21st century. She is a great resource for information about fine art paper mills, and the papers that particular artists or printmaking studios prefer. In fact, I should emphasize that all of the lecturers of this workshop are very accessible and happy to share their knowledge with the conservation community. I recommend reaching out if you have questions about contemporary prints.
Rosemary Fallon practices a non-toxic version of the 'acid bite' techniqueRosemary Fallon practices a non-toxic version of the ‘spit bite’ technique
On day 4, we travelled to Pyramid Atlantic in Silver Spring, MD, where we got to try out Intaglio-Type printmaking for ourselves. Keith Howard and Bernice Cross led us through plate preparation, exposure, development, and printing. After 4 hours, we each had 1-2 prints to keep as references. Day 4 was absolutely my favorite part of the entire workshop. I learned that many studios offer summer weeklong intensive courses in printmaking. I hope to take one someday.
Thanks again to everyone who worked behind the scenes to make this workshop possible despite the government shutdown.
Bernice Cross demonstrates 4-color printing from plexiglass plates
Bernice Cross demonstrates 4-color printing from plexiglass plates