Imagine how much we would know if every museum had a scientific research program like that of the Art Institute of Chicago

On April 22, 2014, The New York Times published in its Science Section an article by Kenneth Chang titled “How This Renoir Used to Look”. The article discussed the changes in color of the background of the Art Institute of Chicago’s 1883 Renoir painting, “Madame Leon Clapisson” since it was completed, explaining that the cochineal which gave the background a scarlet-purple color had faded. This study is just one of many undertaken by the Art Institute of Chicago’s conservators and scientists during the past few years. Imagine how much greater an understanding of artists’ materials and intentions we would have if every museum had a scientific research program like that of the Art Institute.

You can only be in one place at any one time

When one lives in New York City, she is sometimes faced with the choice of which of a number of conservation related events taking place at the same time to attend. Tonight was one of those times. On lower Fifth Avenue, the Salmagundi Art Club was hosting a program on “Investigating Authenticity in Art: Scholarship, Scientific Analysis and Connoisseurship”, while on upper Fifth Avenue, the Institute of Fine Arts was hosting a program on “Cultural Heritage in Troubled Times: War Damage, Pillaging and Saving the Monuments”. I chose to attend the IFA program. I wonder if I made the right choice.

Head of Conservation, The Asian Art Museum (San Francisco)

The Asian Art Museum in San Francisco, California—one of the
largest museums in the Western world devoted exclusively to Asian
art and culture—is seeking an experienced conservator with strong
managerial, leadership, and communication skills to supervise and
coordinate the staff and operations of the Conservation Laboratory for
its world-renowned collection.
Reporting to the Director of Museum Services, the Head of
Conservation directs and manages the staff and activities of the
Conservation department; supervises and performs highly skilled
conservation work, including examination, research, treatment,
documentation, and preparation for exhibition of Asian art objects.
S/he manages all administrative duties related to the operations of the
department, and serves as the museum’s chief spokesperson on
conservation issues.
The Head of Conservation determines standards and procedures for
the care of Asian artworks within the museum, in exhibitions, and on
loan; devises restoration and preservation methods and techniques;
consults with curators, scientists, and external conservators; liaises
with outside specialists such as painting mounters and framers; and
provides information on conservation matters to museum staff,
colleagues and the public.
The ideal candidate will have a significant record of professional
accomplishments that may also include publishing and research.
Bringing energy and vision, the candidate will be able to anticipate the
future needs of the institution and to design effective systems for
meeting the museum’s obligations with regard to the care and
preservation of the collection.
Issued 04-01-14
QUALIFICATIONS

  • Master’s Degree in Art Conservation from a recognized college or university, or a Master of Arts;
  • Degree in Art History with a Certificate in Conservation from a recognized Conservation Training Program;
  • Eight (8) years of verifiable museum conservation experience, beyond the degree or certificate, with the techniques, materials, and equipment used in the conservation of Asian art objects; or an equivalent combination of education, training, and experience; experience must include at least two (2) years of supervision;
  • Demonstrated knowledge of: the technology, materials, and equipment used in the conservation of works of Asian art; procedures relating to the examination and the preventative and corrective treatment of art objects; the environmental and handling requirements for storage, exhibition, and travel of art objects;
  • Demonstrated knowledge of advanced conservation equipment including polarized light microscopy, x-ray fluorescence, x-radiography and short-wave infrared imaging and digital imaging;
  • Ability to: examine and determine the condition and conservation needs of works of art; plan, direct, and implement research strategies to determine the date, authenticity, and fabrication of Asian art objects; work collaboratively with Curatorial staff in research project;
  • Ability to provide sound advice and recommendations regarding the design of facilities to ensure the proper display, storage, and treatment of works of art;
  • Ability to: organize and manage complex projects; analyze complicated administrative problems, evaluate alternative solutions and adopt effective courses of action; develop and manage budgets;
  • Ability to: supervise, direct, motivate, and evaluate staff, interns, and volunteers; establish and maintain cooperative and effective working relationships with museum staff, visitors, volunteers, donors, and representatives of other museums;
  • Strong leadership, interpersonal, planning, and organizational skills; excellent written and oral communication skills; effective presentation, negotiation, problem solving, conflict resolution skills.

COMPENSATION
Generous compensation and benefits package
APPLICATION PROCEDURE
Apply online at bitly.com/1hxmstA or
Send a letter of interest and resume ASAP to:
HUMAN RESOURCES, Asian Art Museum, 200 Larkin Street, San Francisco, CA 94102
FAX: 415.861.2359
The Asian Art Museum embraces diversity in its mission, programs, and staff.

Get Ready for San Francisco with the Sustainability Committee: Plastic bags and Containers

This is the first in a series of blog posts by the Sustainability Committee in the run-up to the 2014 Annual Meeting, describing sustainability issues and initiatives in the city of San Francisco.
PLASTIC BAGS:
Residents of Washington, DC, Boulder, Santa Fe, and a few other cities (including about 50 in the state of California) may be used to similar ordinances, but everyone else should be forewarned: when you make a purchase, the store can no longer provide a free bag to go along with it. For a 10 cent fee, you can purchase a ‘compliant’ bag to carry your goods in. Compliant bags are either:
* Compostable plastic bags labeled with a certification logo
* Paper bags labeled with 40% post-consumer recycled content
* Reusable checkout bags designed for at least 125 uses and washable
Why is this a good idea? Plastic bags clog sewers, pipes, and waterways. They mar the landscape. They photodegrade by breaking down to smaller fragments which readily soak up toxins, then contaminate soil and water. They are making a significant contribution to the plastic pollution of the oceans. Thousands of marine animals die each year from ingesting them. And, they are manufactured from petroleum, a resource that is both finite and dangerous to transport.
TAKE-OUT CONTAINERS:
In addition, you will notice that your takeout food containers are a little different than what you may be used to. Containers are required to be compostable or recyclable. Styrofoam is a definite no-no. As the SF Environment (a city agency) site says: “Made from oil, polystyrene foam is non-renewable, non-biodegradable, and non-recyclable. Polystyrene foam food service ware ends up in landfills, waterways, or the ocean. It can break into pieces, which are often mistaken for food and ingested by marine animals, birds, and fish. Medical studies suggest that chemicals in polystyrene foam can cause cancer and leach into food or drinks.”
PLASTIC WATER BOTTLES:
While we are there, you will still be able to purchase water in plastic bottles (although, please don’t; you can get it from the tap). But the city council has passed an ordinance prohibiting their sale in any public spaces that will go into full effect by 2018.
Laws like these can hopefully prevent what was witnessed by Jia-Sun Tsang, who works at the Smithsonian in Washington, DC: “On April 12, National Cherry Blossom Festival, thousands of tourists came through the Mall and left park workers 27 to 30 tons of trash to pick up.”
WHAT YOU CAN DO TO MAKE YOUR CITY MORE LIKE SAN FRANCISCO:
Many city councils are considering similar laws. Please contact your lawmakers and show your support. Refuse to patronize a restaurant (or staff cafeteria) that uses styrofoam. If you work at an institution, let the suppliers (or decision-makers) know that you prefer to chose products from vendors that use less packaging.
FURTHER READING:
SF Environment: Plastic Bag Ordinance
Cities with Plastic Bag Bans
MSNBC: SF Bans Sale of Plastic Water Bottles
Examiner: SF Bans Sale of Plastic Water Bottles
SF Environment: Take-out Container Ordinance
Facts About the Plastic Bag Pandemic
 

Call for Proposals: 2015 Isabel Bader Fellowship in Textile Conservation and Research

Cover Image Bader
Agnes Etherington Art Centre and Master of Art Conservation Program
Queen’s University

The Isabel Bader Fellowship in Textile Conservation and Research supports the study, care and treatment of Canadian historical costume. Through the generous support of Dr. Isabel Bader, the Fellowship links two unique resources at Queen’s University: the Queen’s University Collection of Canadian Dress at the Agnes Etherington Art Centre, and the Master of Art Conservation Program, Canada’s only graduate degree in conservation theory and treatment.
Description
The Fellowship provides an exciting opportunity for you to pursue your own research project in the area of textile conservation and/or costume history using the Queen’s University Collection of Canadian Dress. Your project will be supported by a conservation intern working under your supervision in the investigation and treatment of selected objects. You will also have access to the well-equipped textile laboratory in the Master of Art Conservation Program and opportunities to engage and share your expertise with the students through lectures, seminars and/or workshops.
Terms
One $12,000 Fellowship is awarded for a three-month residency at Queen’s University (plus up to $2,000 for research expenses). The Fellowship begins in January 2015. The Fellow is responsible for travel and accommodation arrangements.
To Apply
Experienced conservators and textile specialists are encouraged to apply. Please submit the following to Alicia Boutilier, Curator of Canadian Historical Art, Agnes Etherington Art Centre, 36 University Ave, Queen’s University, Kingston, Ontario, Canada, K7L 3N6:
• Cover letter, including name, contact information and project summary (maximum 150 words)
• Detailed research proposal, including objectives and methodology, use of Queen’s University Collection of Canadian Dress, schedule of work, projected outcomes and plans for dissemination of research (maximum 5 pages)
• Curriculum vitae
• Letters of support from two professional referees
Interested candidates are strongly encouraged to contact Alicia Boutilier (alicia.boutilier@queensu.ca) well in advance of the closing date to discuss the relevance of their research interests to the Queen’s University Collection of Canadian Dress.
Deadline
27 June 2014
Applicants will be notified by 1 August.
For further information about the Agnes Etherington Art Centre and Master of Art Conservation Program, please consult: aeac.ca and queensu.ca/art/artconservation.html.
Agnes

NEW! Health & Safety Session at the Annual Meeting

The members of the Health & Safety Committee and 2014 Annual Meeting organizers are excited to announce the first full-day session dedicated to health and safety topics at the 42nd Annual Meeting in San Francisco. Health & Safety Session: Sustaining the Conservator will take place on Saturday, May 31 and will include the following talks:

Controlling Hazardous Collection Materials
Kerith Koss Schrager, Anne Kingery-Schwartz and Kathryn Makos
Responsible stewardship of hazardous collections materials involves implementing policies that ensure the health and safety of the materials as well as the individuals who come in contact with them. This talk will discuss employing collections-based risk management plans, understanding hazard disclosure requirements, and knowing when and how to consult health and safety professionals.

Unintended Consequences of Persistent Residual Vapor-Phase Chemicals within Collection Storage
Catharine Hawks and Kathryn Makos
Residual chemicals within cabinetry and collections have been identified through technical scientific study. While health implications are cautionary and controllable, adverse consequences to the condition of the collections can be significant. Recommendations for mitigation of these hazards will be presented.

Solvents, Scents and Sensibility – Part II, Sequestering and Minimizing
Chris Stavroudis
Continuing with the topics covered in Solvents, Scents and Sensibility-Part I (General Concurrent Session), this talk includes a discussion of safer solvents to help sustain the conservator and the environment, toxicity overviews, in-depth reviews of reformulating “bad” solvents, and molecular interactions and solubility parameters.

Medical Evaluations for Museum and Collection Care Professionals
David Hinkamp, MD (University of Illinois School of Public Health) and Ruth Norton.
Using examples from the Field Museum, the authors will discuss methods to promote occupational health benefits and safer working practices through medical evaluations, exposure monitoring, maintaining lists of materials used, and accurately describing conservation and collections care work practices to medical staff.

Sustainability for the Conservator: Mold Remediation
Chris Stavroudis and AIC Emergency Committee
The AIC Emergency Committee will present lessons learned and techniques used for Hurricane Sandy recovery at the Cultural Recovery Center in Brooklyn, New York to highlight the key steps conservators need to take to protect themselves when working with mold or moldy artworks.

Ergonomics in Collection Care
David Hinkamp, MD (University of Illinois School of Public Health)
Dr. Hinkamp will discuss current ergonomics theories and best practices for improving workstations and postures/positions using real world conservation task examples supplied by Emerging Conservations Professionals Network and the Health & Safety Committee.


The Committee is also organizing events that will take place throughout the 2014 Annual Meeting:
Yoga and Stretching
General session and some specialty group sessions
Don’t just sit there – get up and stretch! Throughout the meeting, organizers will encourage attendees to move around between talks with guided instruction.
‘The Safety Doctor Is In’ with J. R. Smith (Safety Manager, Smithsonian Institution)
Health & Safety Booth in the Exhibitors Hall
Friday, May 30: 9am-12pm and 1pm-3pm OR contact smithjr@si.edu for an appointment
Learn how to create a Job Hazard Analysis (JHA) for conservation tasks. This is a standard occupational safety approach to breaking down a task into simple components, materials, operations and then analyzing for hazards and setting ways to prevent an injury or illness from that hazard.
Health & Safety Booth
Exhibitors Hall
We’re teaming up again with the Emergency and Sustainability Committees to provide information on current health and safety issues. Stop by if you have questions or comments for members of the Committee.
Respirator Fit Testing
Lecture: Wednesday, May 28: 6:30-7:30pm
Appointments: Thursday, May 29: 9am-6pm ($39)
Register now for your annual respirator fit testing! Respirator fit testing requires that you complete the lecture, a 15-20 minute fit test appointment, and an OSHA Medical Evaluation Form signed by your healthcare professional (available on the Health & Safety webpage).
We look forward to seeing you in San Francisco!
 
Have a question or concern about health and safety in your conservation work? Contact the committee at HealthandSafety@conservation-us.org.
Also visit our webpage and wiki for more information and Committee publications on conservation-related health and safety topics.

AIC Cuba Trip Travelog Part 3

29 January 2014 (Day Six)
Travel_Cuba_20140129103712In the morning, we meet our guide for the next few days, Nancy Benitez , the former director of the City’s Conservation department and an active voice in preservation in the city.  We tour historic center of Trinidad, Cuba’s second UNESCO World Heritage site and a bastion of Caribbean vernacular earthen architecture.  We toured historic mansions now turned into museums, including the Palacio Cantero and the architecture museum, as well as public squares where pilot conservation projects have been carried out, and visits to a couple private homes representing all stages of preservation of the regional art and architecture.  After lunch at El Jigue, the group travelled to Manacas Iznaga historic sugar plantation, founded by Bayamo residents and comprising one of the most important sites in the rural southern coast of Cuba.  It’s part of the UNESCO world heritage site of Trinidad and the Valley of the Sugar Mills. After the tour, we ended day with a cocktail, la canchanchara, a drink made from honey, lime and aguardiente (brady) and made famous in the 1860s by Mambises, Cuban freedom fighters, who were battling Spain for Independence. We had the drink at a bar of the same name and which happens to be the oldest building in the city, dating from the early 17th century.
30 January 2014 (Day Seven)
Travel_Cuba_20140129122802Early in the morning, we departed Trinidad for the Caribbean colonial city of Cienfuegos. Before getting to the town, we stop along the way at the Cienfuegos Botanical Garden, which was founded by Harvard botanists in the very first years of the 20th century and home to more than 2000 species of plants on 240 acres of land just outside the city. After the gardens, we visited the historic center of Cienfuegos, guided by its chief preservation architect, Iran Millan.  During the tour, we visited the Parque Martí, center of the city, and see several important buildings including the 1889 Tomas Terry Theater, one of Cuba’s three exemplary 19th century regional theaters. After the tour, we had lunch in at Villa Lagarto, which sits at the end of the in the point that juts out into the Bay of Cienfuegos.  After we lunch, we departed Cienfuegos for Havana, but this time we were able to take Cuba’s one and only high speed roadway, the Autopista Nacional, which stretches from Havana to the small town of Taguasco in the center of the country and where it abruptly stops (ie the money ran out). Rarely is any traffic encountered on it, and we arrived at our hotel in Havana after a short four hour bus ride…made a little shorter after we “opened of the bar.”
31 January 2014 (Day Eight)
Chief of Mission ReceptionAfter many of us awakened to a view of the bright blue waters of the Straits of Florida outside the windows on the Malecόn side of our hotel, the Hotel Nacional, we began our time in Havana with a tour of the four main colonial plazas of Old Havana, Cuba’s first and most significant UNESCO World Heritage site, starting at the Plaza de Armas, where we will see the oldest Spanish fortress in the Americas, a Greco- Roman style Neo-classical temple that marks the spot where the first mass and town council meeting were held in 1519, and the Palace of the Captains Generals, seat of government from 1776-1930. From there we went to the Plaza de le Catedral before going to Plaza de Francisco and ending at the Plaza Mayor, where we had lunch at a restaurant called Santo Angel. After lunch, we went back to the hotel where we quickly freshen up for our visit to the residence of the Chief of Mission of the U.S. Interests Section of the Embassy of Switzerland, where we were received by the Chief of Mission (“Ambassador”), who updated on the current policy of the United States towards Cuba. We were then able to explain the nature of our trip and plans for future engagement with Cuban conservation professionals before posing for a photograph to commemorate the occasion.  To celebrate the gradual thawing of relations between our two countries and toast to future progress, the group after the reception retreated to El Floridita bar, where we partook in some liquid refreshment, much like Hemingway did when the bar was one of his favorite watering holes. Popularizing a drink known as the daiquiri by notoriously downing many of the cocktails himself, Hemmingway concocted her own preferred version, which calls for grapefruit instead of lime juice and maraschino liquor instead of simple syrup and which they still blend up batches of for tourists who come to pay homage to the author who now lends his name to the drink.  Dinner that night was at San Cristobal, one of the top private restaurants in the city.
1 February 2014 (Day Nine)
Travel_Cuba_20140201152213After a visit the Decorative Arts Museum, we took a walking tour of Centro Habana, which centered on the Parque Central area, stopping at such sites as the Capitolio, Hotel Inglaterra, Bacardi’s glazed terracotta-clad Art Deco headquarters, Sloppy Joe’s bar, and the Paseo del Prado—all of which shows the development which occurred outside the walls in the 19th century. Unfortunately, we didn’t have time to stop for a quick drink at the old Barcardi, where they do actually serve up rum-based drinks–none of which, it almost goes without saying, are made with liquor  under the label of the same name. However, that was okay, because we had to get to lunch at Ajiaco in the lovely little fishing town of Cojímar just outside the city. Cojímar is also home to Finca Vigia, Hemingway’s house, which we toured later that day.
2 February 2014 (Day Ten)
Travel_Cuba_20140202151052In the morning, we visited the Museo Nacional de Bellas Artes with a tour of the Cuban modern art collections by one of the museum’s curators. The museum is in a striking modernist building which was completed in 1953 and exemplifies the combination of sculpture with architecture in Cuban mid-century modernism.  We then visited Havana’s Cementerio de Colόn. Laid out between 1871 and 1886, the cemetery includes more than 500 mausoleums, chapels and family vaults, sculpted in bronze, granite, marble and limestone by leading Cuban and European artists. After the cemetery, we went to the Plaza de la Revolucion before making our way to the hotel Riviera, a perfectly preserved masterpiece of mid-century modern architecture. To cap of our mid-20th century-themed morning, we had lunch at paladar called Vista al Mar, which is in a beautiful oceanfront house overlook the Straits of Florida in Havana’s famed Miramar neighborhood. The rest of the afternoon, the group went to the craft market at Antiguos Almacenes San José or explored the city on their own. The group gathered at the paladar Atelier that night before going to Tropicana.
3 February 2014 (Day Twelve)
Travel_Cuba_20140202123331On our last full day in Cuba, we had a chance to visit the Cuba’s national art school, El Instituto Superior de Arte or “ISA.” Built in 1961 on the grounds of a former golf club, the school was one of the earliest and now recognized best public works projects begun by the Revolucion. A personal project of both Fidel Castro and Che Guevara, the art school reflects the flush of utopian idealism that characterized the revolutionary movement at that moment in its history. Only later in the decade, when Cuba adopted a more Soviet-style functionalist approach, did the art schools begin their decline—all of which is detailed in the recent documentary “Unfinished Spaces.”  Because Cuba now allows artists and musicians to earn a living in hard currency (CUCs) abroad and keep most of it themselves, these professions have become some of the top professions in the country, making placements at the art school some of the most coveted in the country among its young people. This has brought about a resurgence for the school—not to mention, it also makes for great art, which you can buy from students at the school. After lunch at El Aljibe, known for its amazing roasted chicken, the afternoon was free for the group to spend on its own. Some took a ride in one of the old American convertibles from the 50s. Others took a dip in the hotel’s pool, and others who had not yet dropped from all the shopping thus far went to spend their remaining foreign currency. Dinner that night was in the famed paladar La Guarida, which in addition to being one of the oldest in Havana was also the set of the seminal masterpiece of Cuba cinema, Strawberry and Chocolate. Made in the early 90s, the film takes place in Havana, Cuba in 1979 and  tells the story of a growing friendship between a university student and a gay cultural functionary unhappy with the Castro regime’s treatment of the LGBT community as well as the censorship of culture.  The film fundamentally changed the way Cubans both inside and outside the government viewed their LGBT comrades, paving the way for the pro-LGBT reforms currently being considered in the government today.
4 February 2014 (Day Thirteen)
Travel_Cuba_20140204164118All good trips end far too soon, and ours ended early, early in the morning after we checked of the hotel and headed to the airport where we would spend a few hours before boarding a very short charter flight back to Miami and back to reality. Perhaps because of the time warp that is Cuba or the breakneck pace that is our modern, American way of life, our time on the island, though impossible to forget, would soon become a distant memory. As sad as this may sound, it is kind of the way most trips to this place go. The saving grace in this is that it just makes it easier to return, and return often, each and every time.

The confusing (to the art buyer) vocabulary of art production techniques

In his discussion of insider art vocabulary (“Do You Speak Art?”, The Wall Street Journal, April 14, 2014), Daniel Grant highlights the difficulties that art buyers have understanding the meaning of the terminology used to describe contemporary print, photograph and sculpture production techniques. Perhaps before spending their money, mystified buyers should consult with conservators who understand the language .

If not for Faye Wrubel, we’d be lacking in our understanding of Gustave Caillebotte’s relationship to Impressionism

According to an article by Kyle Macmillan in the April 18, 2014 issue of The Wall Street Journal (“An Impressionist is Unmasked”), in October 2013 Faye Wrubel, a paintings conservator at the Art Institute of Chicago began a routine cleaning of Gustave Caillebotte’s “Paris Street: Rainy Day”. Her discovery through testing and research that underneath what turned out to be a layer of later yellow overpaint was an airier, bluer, more atmospheric sky led to the understanding that Caillebotte was an Impressionist in his approach to the depiction of specific atmospheric conditions.

ECPN Webinar on April 23rd on Conservation Education, Outreach, and Advocacy

The Emerging Conservation Professionals Network (ECPN) is pleased to announce that our fourth webinar – “Get Involved! Conservation Education, Outreach, and Advocacy Webinar” – will take place on Wednesday, April 23rd from 12:00-1:00pm EST.
The program will feature three speakers with experience working in various aspects of conservation education, outreach, and advocacy: Teresa Myers, private practice conservator who participated in the American Alliance of Museum’s Museum Advocacy Day in 2011; Richard McCoy, an arts and cultural consultant with an established history of writing for digital and print publications, teaching in graduate programs, and creating innovative web projects; and Sarah Barack, private practice conservator and co-chair of AIC’s K-12 Educational Outreach subcommittee.
Participants will have the opportunity to ask questions before and after the webinar here on the AIC blog, as well as during the webinar in a Q&A session. Please submit your questions as comments to this post, or email them to Anisha Gupta at agupta[at]udel[dot]edu. Questions will be accepted until the morning of the webinar, during which  your questions will be posed anonymously. All unanswered questions at the end of the program will be addressed in an AIC blog post following the webinar.
Attendance is free and open to all AIC members. Registration is required and will be open until the webinar begins on April 23rd. To register, please visit https://www2.gotomeeting.com/register/898099178.
In addition to this webinar, ECPN has hosted three webinars in the past that address a diverse group of subjects. To view two of the programs, please see the links below. The recording of ECPN’s third webinar, “How to make the most of your pre-program internship,” which featured two speakers with experience supervising pre-program interns, Emily Williams and Thomas Edmondson; and two speakers with more recent experience as pre-program interns, LeeAnn Gordon and Ayesha Fuentes is forthcoming.
Self-advocacy and fundraising for independent research” with Debra Hess Norris, July 2012.
Follow-up Q&A to “Considering your future career path: working in private practice” with Rosa Lowinger, Julia Brennan, and Paul Messier, November 2012
For more information on ECPN’s webinar series, please visit www.conservation-us.org/ecpnforum.