For the last few years, Ms. Villafana and her co-authors have been refining a new microscopy technique for conservation to create “virtual” non-destructive cross-sections. This is a very exciting development for our field, particularly for those of us working with materials–such as works of art on paper–that don’t typically allow for sampling. And for paintings conservators more accustomed to taking traditional cross-sections, this technique has promise for in-situ analysis of paint layers through varnish.
To summarize, the virtual cross-section image is created using pump–probe microscopy, a non-linear optical microscopy technique developed for the biomedical field, which allows non-invasive detection of biological pigments indicative of skin cancer. Because skin tissue is highly scattering, this technique was developed to be inherently confocal, meaning that the signal is generated only at the focal point, creating less scattering, and less spectral noise. The approach is naturally suited to the highly scattering pigments, binders, and supports making up materials of cultural heritage. However, the complexity of art objects render the technique more difficult to apply.
Pump–probe microscopy achieves high resolution in three dimensions with a maximum image area of up to 1mm square. The penetrating depth ultimately depends on the material composition of the object under study. The technique is typically operated at two wavelengths: 810nm and 720nm and modulated to create a series of images at different inter-pulse delays. These images can then be colored according to the molecular composition of the specific material and stacked to create a 3D rendering.
With this presentation, Ms. Villafana shared case studies illustrating ongoing research into cultural heritage materials using pump–probe microscopy. The first project investigates applications of pump–probe on paper substrates bearing coatings of lapis lazuli pigment. With this technique, it is possible to produce an image illustrating the physical structure and condition of paper fibers underlying the paint layer. She observes that the pigment particles cluster around the fibers, as seen in the slide below. She is interested in further investigating the natural heterogeneity of lapis lazuli crystals, noting that samples from different parts of the world exhibit different delay behaviors. She plans to complement her pump–probe analysis of lapis lazuli pigments with SEM-EDS, Raman, and FTIR.
Villafana also presented on preliminary research using pump–probe to investigate historical methods of pottery manufacture. After finding that pump–probe delays of hematite are dependent on firing temperature, Ms. Villafana started using mock-up clay bodies fired under different conditions (Oxidized at 1800F and 2300F/Reduced at 1800F and 2300F) to examine the difference in delay behaviors from the exterior to the interior of fired clay. She has found that higher temperatures and oxidation both result in shorter lifetimes. Further study will focus on phase change and particle size.
I quite curious to see how this technique develops in the near future. Will pump-probe (or something like it) be able to replace traditional cross section techniques within the next 5 to 10 years? What other techniques are being developed out there that might be able to achieve similar results?
See the following two links for more information:
Villafana, et al., full-text PDF of recent research published in The Proceedings of the National Academy of Sciences of the United States of America
Article about Pump-Probe Microscopy in Science News, from Science, AAAS
Month: August 2014
Electronic Materials Group: Call for Papers for 2015 AIC Annual Meeting
The Electronic Media Group (EMG) of the American Institute for Conservation (AIC) is calling for papers about the preservation and conservation of electronic media for the AIC annual meeting, May 13-16 2015 in Miami, FL.
For information about EMG, please see- http://www.conservation-us.org/specialty-groups/electronic-media#.U8x2h6g2ndQ
The theme of the meeting is “Practical Philosophy or Making Conservation Work.” (For details, please see: http://www.conservation-us.org/annual-meeting/submit-an-abstract#.U8x2oag2ndQ ) Submissions are particularly encouraged that address practical considerations in the preservation of electronic media and considerations of how theory translates into practice and how practice informs theory. However, all topics of interest to the Electronic Media Group will be considered.
If your paper is accepted, you are expected to secure funding for your registration and travel expenses to attend the conference. See the AIC webpage for more information about grants and scholarships. – http://www.conservation-us.org/grants-scholarships#.U8x3cag2ndQ
Please join the conversation – Submit an abstract by Wednesday, September 10, 2014.
How to Submit an Abstract
Email your abstract in Microsoft Word (NOT as a pdf) to Ruth Seyler, AIC Membership and Meetings Director, at rseyler@conservation-us.org.
Please send an abstract of 500 words maximum, along with a bio of 300 words maximum per author to Ruth by Wednesday, September 10, 2014. In the case of multiple authors, please list all authors and include an email address for each author. If you have questions or would like to discuss an idea for a session, please contact Ruth Seyler.
You may also submit your abstract for consideration for other sessions at the AIC Annual Meeting, as detailed below.
If the EMG Session is your first choice as a venue for your paper, please be sure to indicate this within your submission.
Session Types
Abstracts will be considered for the following session types.
General Sessions – General Session papers must specifically address the meeting theme. Recent efforts to provide a variety of session formats will continue and authors accepted for general session presentations may receive requests to participate in lightning rounds or concurrent general sessions.
Specialty Sessions – Specialty Session papers are encouraged to address the meeting theme but may also explore other topics relevant to that specialty. Specialty sessions will include: Architecture, Book and Paper, Collection Care, Electronic Media, Health & Safety, Objects, Photographic Materials, Paintings, Research and Technical Studies, Sustainability, Textiles, and Wooden Artifacts.
Poster Session – Posters may address the meeting theme, but presenters can also address their current research interests. Posters are presented in the Exhibit Hall.
Submission Guidelines
- You may submit an abstract for a combination of the three session types: General Sessions, Specialty Sessions, or Poster Session. You may submit your presentation to only one or two sessions if you so choose.
- If you are submitting a Discussion/Interactive Session, please submit only for that, since the format is not compatible with the other General Session choices
- Please indicate on the abstract the session/sessions for which you want the paper to be considered.
- Please limit your choices to three sessions and rank them in order of preference. For example, your preferences could be one of the following:
- 1st Choice: General Sessions, 2nd Choice: Objects Session, and 3rd Choice: Wooden Artifacts Session
- 1st Choice: General Sessions, 2nd Choice: Poster Session, and 3rd Choice: Book and Paper Session
- 1st Choice: Photographic Materials Session, 2nd Choice: Electronic Media Session, and 3rd Choice: Research and Technical Studies Session
- 1st Choice: Book and Paper Session, 2nd Choice: Book and Paper Session, 3rd Choice: Book and Paper Session
- 1st Choice: General Sessions – Concurrent Interactive/Discussion Session
- When listing your three session choices, please remember that if you are interested in a joint session you only need to list that as a single option. For example: if you want your second choice to be the Book and Paper and Photographic Materials Joint Session, don’t list it as either Book and Paper Session or Photographic Materials Session but list it as the Book and Paper and Photographic Materials Joint Session.
Associate Conservator, Contemporary Conservation
Contemporary Conservation, a New York City based conservation studio specializing in contemporary art, is seeking a full time Associate Conservator. The candidate should have demonstrated ability and experience in the treatment of a broad range of contemporary artworks and be capable to work under tight deadlines in our fast paced conservation studio. Working with a team is essential. The candidate should have a Masters in Art conservation from an internationally recognized conservation program, or equivalent professional experience (at least 5 years), plus a demonstrated ability to problem solve and work on a wide range of contemporary materials. The candidate should be familiar and experienced with the recent conservation discourse and with a great variety of modern conservation techniques and paint systems.
Applicants should possess an in-depth knowledge of contemporary and modern art. Excellent written and verbal communication skills are required, as well as basic photographic documentation. Strong organizational skills are necessary. Required tasks include assessing a works condition, reporting, accurately estimating treatment times, preparing proposals, and onsite work. Applicants should have profound knowledge in objects and/or painting conservation and experience working with installation art, painting, sculpture, outdoor sculpture to name a few. Ability to make independent decisions sustained by analytical and theoretical application is essential. Applicants must be organized, goal oriented, structured, and willing to adapt to new challenges. They must be able to work collaboratively within a dynamic team. Familiarity with Macintosh platforms is preferred, and a working knowledge of Filemaker, InDesign, and Photoshop is ideal.
Interested applicants should email with a cover letter, resume, contact information and three professional references as well as three sample treatment reports. Please send all documentation to studiomanagercc@gmail.com. Incomplete applications will not be considered.
Deadline for applications is September 15th. Please do not call about this position. Contemporary Conservation offers competitive salary to commensurate with experience, and a total compensation package that includes health care and a matching 401(k) program. CC is an equal opportunity employer.
ECPN Webinar Archive
Miss a webinar hosted by the Emerging Conservation Professionals Network (ECPN)? Search the AIC YouTube channel, or check out the topics and links below (as of September 2015):
“Presenting Talks and Posters” with Katie Sanderson and Ariel O’Connor; March 11th, 2015; Blog post follow-up.
“Beyond the Portfolio: Your Conservation Career” with Suzanne Davis; October 16, 2014
“Beyond the Prerequisites: Preparing for Graduate Education in Art Conservation” with Margaret Holben Ellis, James Hamm, Rosaleen Hill, Debra Hess Norris, and Ellen Pearlstein; July 16, 2014
“Get Involved! Conservation Education, Outreach, and Advocacy” with Teresa Myers, Richard McCoy, and Sarah Barack; April 23, 2014
“How to Make the Most of Your Pre-Program Internship” with Emily Williams, Thomas Edmondson, Ayesha Fuentes, Lianne Gordon; September 24, 2013
“Considering Your Future Career Path: Working in Private Practice” with Paul Messier, Rosa Lowinger, and Julia Brennan; November 30, 2012; Blog post synopsis.
“Self-Advocacy and Fundraising for Independent Research” with Debra Hess Norris; July 26, 2012
The ECPN webinar program seeks to address issues faced by emerging conservators. “Emerging conservators” are defined as those with 7 or fewer years of experience (which includes schooling and pre-program). ECPN strives to rotate webinar topics between those that are specifically pertinent to pre-program, graduate, and post-graduate emerging professionals.
ECPN Webinar: 'Beyond the Pre-requisites: Preparing for Graduate Education in Art Conservation': Follow-up Q&A
In order to address some remaining questions from the recent webinar ‘Beyond the Prerequisites: Preparing for Graduate Education in Art Conservation’, ECPN asked our five presenters (Peggy Ellis from NYU, Ellen Pearlstein from UCLA/Getty, Debbie Hess Norris of Winterthur/Univ. of DE, James Hamm of Buffalo State, and Rosaleen HIll from Queen’s) to reply to our audience. Their individual responses have been summarized below. If you have any additional questions or concerns on our webinar topic, remember that you can always contact individual programs or reach out via ECPN officers and our Facebook page.
The recorded webinar is available at http://youtu.be/Rfc-l4iZHAs.
1. If an applicant who has exceeded the required amount of experience takes a break from conservation internships to pursue other academic/artistic endeavors, how will it affect her/his application?
All five respondents reply that because conservation is a multi-faceted field with an interdisciplinary focus, work in other fields is highly encouraged. The development of academic, artistic, research, or other skills is an asset and often helps an applicant if her/his interests can be connected to a topic within conservation. Additional fields of study or experience could be chemistry, biochemistry, art history, anthropology, studio arts, museum studies, environmental science, collections management, or any other number of related fields. Furthermore, one respondent notes that: “Each person’s life path is unique. What appears to be ‘taking a break’ may, in retrospect, be the absolute best possible path to a successful career in art conservation (or something else!).”
2. If an internship with a conservator is not available in my area, are there other kinds of experience that are desirable?
While conservation experience is an important, if not always mandatory, part of one’s pre-program work, our webinar presenters suggested several ways to become involved with conservation and broaden an applicant’s knowledge of collections management and preventive care. These include working with a registrar or archivist; working at smaller and/or local institutions like archives, libraries, or historical societies and museums; gaining laboratory and handling skills by volunteering to process archaeological finds or mount samples for scientific analysis, possibly at a local university; working in an art supply or framing shop. In order to keep yourself informed about the conservation field, be sure to take part in local conferences or workshops. Join AIC as a Student member and take advantage of on-line conservation courses and other resources. Finally, be sure to look into AIC’s (or CAC’s) Mentorship Program to check for local professionals who might be willing to mentor via email or Skype.
3. If someone hasn’t been successfully admitted after a few years of applying, what alternatives do you suggest s/he take to remain in the profession?
Becoming a registrar or collections care manager for an institution, gallery, or contemporary artist is a recommended career path. Other suggestions include working in arts advocacy or pursuing an advanced degree in museum studies, museum education, library sciences, archival studies, or a related field in the sciences.
4. Is it better to have a long internship experience at one institution or short periods of time at several?
Our presenters agree that there is no single answer to this question. They note that it is important to be exposed to a variety of materials and practices, and that the quality of the supervision is a key factor in gaining skills and knowledge. Short-term (e.g. once or twice/week for a few months) projects may be less successful in this respect though they may be valuable in other ways.
5. Is an applicant’s age taken into consideration?
All five programs agree that age is not a factor in admission. However one respondent adds that, at any age, ’applicants must demonstrate an openness to learning, curiosity, initiative, and a passion for the preservation of cultural heritage’.
JAIC Editor-in-Chief Position Announcement
The American Institute for Conservation of Historic & Artistic Works (AIC) is seeking an Editor-in-Chief for the Journal of the American Institute for Conservation (JAIC).
The position of Editor-in-Chief (EIC) of the Journal of the American Institute for Conservation (JAIC) primarily involves reviewing new submissions to the Journal, assigning each submission to an appropriate Lead Editor and Associate Editor (AE) in conjunction with the Senior Editor, and making final decisions based on Associate Editor and reviewer comments. Both EIC and the Senior Editor review final proofs. The EIC also requests proposals for special issue topics, writes a bimonthly column for AIC News in coordination with AIC’s Communications Director, and selects new AEs as needed. The EIC also makes final decisions about book reviews, the order of articles, and cover images for each issue. The EIC works with the AIC Communications Director, who serves an administrative role with JAIC.
JAIC publishes four issues annually, with an average of 50 submissions per year. Submissions are made via Editorial Manager and the EIC will be expected to use that program; training and assistance will be provided.
The Editor-in-Chief serves as an independent contractor to the AIC and is given an annual stipend of $8,000. Reimbursable expenses include travel, hotel, and per diem to the November IAG meeting in Washington, DC, and travel and one hotel night only to the AIC Annual Meeting. The expectation is that the EIC will attend both of these meetings as the JAIC representative.
The Editor-in-Chief reports to the AIC Executive Director and works in cooperation with the AIC Communications Director and the Board Director of Communications. Please submit a resume and cover letter describing related skills and interests to Eryl Wentworth, at ewentworth [at] conservation-us.org.
2014 IIC Forbes Prize Lecturer Announced
The Organising Committee requests the honour of your presence at the 2014 Forbes Prize Lecture at the forthcoming IIC 2014 Hong Kong Congress Opening Ceremony! The Forbes Prize Lecture will be delivered on Monday 22nd September at Hong Kong City Hall, the main venue for the Congress. The IIC Congress will take place from 22nd to 26th September, 2014.
The Forbes Prize Lecture is one of the most important awards in the field of conservation and the lecture is delivered by a person who has made an outstanding contribution to the profession. This year IIC’s Council has been delighted to announce that Dr. Jixiang Shan (單霽翔博士), Director of the Palace Museum in Beijing, will be delivering the 2014 lecture.
Dr Shan was formerly the Director-General of China’s State Administration of Cultural Heritage (SACH) before his appointment as the Palace Museum Director in 2012. Dr Shan graduated from the School of Architecture of Tsinghua University with a Doctor of Engineering degree in urban planning. Since then, Dr Shan has been a pioneer in China’s historic preservation movement and has developed his profound research interest in urban planning towardsseeking the preservation of cities of historic and cultural importancein an era that has witnessed an ever-accelerating pace of urbanization. In 2005, Dr Shan received an International Leadership Award from the American Planning Association, honouring his outstanding efforts and achievements in the field.
During his term of office at SACH, Dr. Shan has promoted China’s heritage preservation development by launching nationwide surveys of heritage sites and setting up a legal conservation framework through the introduction of National Cultural Relics Protection Law. His efforts have led to the successful implementation of many major heritage conservation projects, as well as the partnership with World Monuments Fund to restore the Qianlong Gardenand other renovation projects in the Palace Museum. Focusing on the Museum’s ancient complex of buildings and gardens, its unique collections of artifacts and objects, and on the safety and guidance of visitors, Dr Shan implemented the “Secure Palace Museum” Project in 2012. Looking forward, he is committed to nurturing future museum and conservation professionals, and resolving the limitations on museum development within the Forbidden City, with a view to passing down this splendid site to the generations of the next 600 years.
More details of the IIC 2014 Hong Kong Congress can be found at the IIC web-site: www.iiconservation.org
Shouldn’t there be more than three types of articles about conservation?
Recent articles in The New York Times and The Wall Street Journal got me thinking about how conservation is covered by the news media and led me to the conclusion that most stories related to conservation fall into one of three categories— an important work of art returns to view after a major conservation treatment (“Winged Victory Returns to the Louvre”, by Inti Landauro, The Wall Street Journal, July 11, 2014); a wealthy corporation pays for the conservation of a major monument (“Corporate Medicis to the Rescue”, by Gaia Pianigiani and Jim Yardley, The New York Times, July 16, 2014); or terrorists destroy a major monument(“Insurgents Move to Erase Iraq’s Heritage”, by Nour Malas, The Wall Street Journal, July 26-27, 2014). It is too seldom that there is an article or television segment that lets the public know what conservators do on a daily basis to ensure that the cultural heritage will be there for future generations. Perhaps if conservators cultivated working relationships with those in the media, coverage of conservation would not be limited to a few narrow categories.