On February 21 2015, Randy Kennedy reported in The New York Times ( “Two Unfinished Cezannes Discovered at the Barnes”) that, at the Barnes Collection, during the removal of acidic backings from watercolors by Paul Cezanne, previously unknown works were discovered on the backs of two of them. This occurred at the start of what will be a year long conservation program for the collection. Such spectacular discoveries might well lead one to fantasize about other treasures that might be uncovered by Barnes conservators in the months to come
Month: February 2015
Will conservation suffer the same fate as the kimono industry of Amami Oshima?
In his February 10, 2015 article on the dying art of kimono production on the island of Amami Oshima, Japan (“Old Ways Prove Hard to Shed, Even as Crisis Hits Kimono Trade”, The New York Times), Martin Fackler describes in detail the labor intensive steps of that craft. This is very helpful in explaining to the public why such garments sell for more than $3,000 apiece. He notes that the people who create them make less money than fishermen, farmers and loggers and that few young people now choose to study the techniques.
As salaries for conservators fail to keep up with the increasing cost of living, how soon might we read in the general press about a situation where there are few people who wish to put in the time, effort and expense to become conservators when there are better paying careers which require much less in the way of preparation?
ECPN Webinar – Presenting Talks and Posters
Emerging Conservation Professionals Network (ECPN) Webinar:
Presenting Talks and Posters
Wednesday, March 11th at Noon EST
Registration Page: Click here to visit the registration page
Conference season is quickly approaching! If you are busy working on a poster or presentation, or even preparing for graduate school interviews, join the Emerging Conservation Professionals Network (ECPN) for our upcoming webinar Presenting Talks and Posters on March 11th at Noon EST. ECPN is excited to feature two conservators with professional experience in presentations, Katie Sanderson and Ariel O’Connor. The speakers will discuss writing an abstract, putting together an effective PowerPoint, presenting a talk, and creating a poster. ECPN is seeking question submissions for the Q&A portion. Please contact ECPN Chair Megan Salazar-Walsh at salazar.walsh@gmail.com or Webinar Coordinator Fran Ritchie at FranRitchie@gmail.com for questions.
Registration: Click here to register for the webinar. Closer to the date, you will receive an e-mail with information on how to connect to the webinar.
If you miss Presenting Talks and Posters or need a refresher, it will be recorded and uploaded onto the AIC Youtube channel. For a listing of past ECPN Webinars, click here (or visit the AIC Youtube channel).
Webinar Presenter Bios:
Katie Sanderson Katie Sanderson is an Assistant Conservator of Photographs at The Metropolitan Museum of Art. She earned her M.A. in Art History and C.A.S. in Conservation at the Institute of Fine Arts, New York University, where she is currently a member of the adjunct faculty. Prior to her current position, she held the Andrew W. Mellon Research Scholarship in Photograph Conservation at The Metropolitan Museum of Art and worked in labs at the Museum of Fine Arts, Boston, The Better Image, and New York Public Library. Her current research involves measuring color change in photographs over time using a spectrophotometer and micro-fade tester. The main goal of this work is to develop a better understanding of the effects of exhibition and climate conditions on photographic materials.
Ariel O’Connor Ariel O’Connor is currently an Objects Conservator at the Smithsonian National Air and Space Museum in Washington, D.C. Prior to Air and Space, Ms. O’Connor was an Assistant Objects Conservator at the Walters Art Museum, Assistant Objects Conservator and Samuel H. Kress Fellow at the Harvard Art Museums, and Andrew W. Mellon Fellow at the Metropolitan Museum of Art. Her research focuses on materials and technology in archaeological Asian art. Her archaeological fieldwork includes seasons at the Aphrodisias Excavations, Mugello Valley/Poggio Colla Archaeological Project, and Gordion Excavations Project. She holds an M.A. and C.A.S. in Art Conservation from Buffalo State College.
Don’t let this bad presentation happen to you!
https://www.youtube.com/watch?v=rIABo0d9MVE
The ECPN webinar program seeks to provide resources for issues faced by the conservation field, especially emerging conservators. “Emerging conservators” are defined as those with 7 or fewer years of experience (which includes schooling and pre-program). Contact a member of the ECPN Board for ideas on future webinar topics.
PMG Winter Meeting – "New Photo Histories in West Africa" by Erin Haney, Feb. 21
This was the final session of the 2015 PMG Winter Meeting. Speaker Erin Haney is an art historian and co-founder/co-director of Resolution, which hosted the 2014 “3PA” workshop in Benin. During the Q&A afterward, one conservator remarked that her talk “reminds us why we do what we do.” That couldn’t be more true. She provided an exciting glimpse of family and private photograph collections in West Africa that have not been widely seen nor studied. The stewards of important West African photography collections have recently started to come together to explore strategies for their preservation as well as raising their visibility worldwide.
She began by saying that West Africa has valuable historic photographs that won’t come up on Google searches. The reason is simply that these photographs tend to be dispersed widely in private and family collections. There are very few cultural institutions, archives and museums that have enjoyed stability from the colonial era to the present day. Some institutions have lost all or part of their photographic collections in times of political upheaval. Instead, it is primarily families and private owners who have safeguarded that region’s photographic heritage.
Haney showed just a few examples that reflect the diversity of images that can be found in these collections. These include photographs made during the colonial period, the images made by the great, early studios (often now in family collections of their descendants), domestic portraits, group portraits, and events of social and political importance. There are images of the social elite and the wealthy, showing a materially rich and cosmopolitan West Africa that is seldom seen, and a history that is seldom taught. She showed a daguerreotype by Augustus Washington, who went to Liberia from the US and made daguerreotypes in cities all along the West African coast. There were photographs made by the Lutterodt family, which established a far-reaching network of family photography studios that operated from the 1870’s to the 1940’s. There were British colonial scenes, portraits by early French-run studios, portraits of West African women and their Bordeaux trader husbands, and debut portraits–young women dressed in the finest cloth, showing their readiness for marriage. More recent images included Gold Coast soldiers, independence movements, city skylines and infrastructure, and prominent political figures. These are but a few of the many treasures in these collections, spanning the 19th and 20th centuries. There is an extraordinary variety of subjects and photographic traditions.
She showed how photographs were made and remade in order to improve them and preserve them. Some photographs took on new meaning as memorial objects when the sitter passed away. These could be marked with crosses, mounted, and/or captioned by loved ones. Other photographs that had condition issues over time might be heavily overpainted to refresh them. In one case, a painting of a Dutch ancestor was remade by photographing it, in order to present it alongside a group of other family portrait photographs. The original image was not sacred. To study these collections, one has to understand how the images functioned when they were made and how they continue to function. Theirs is an iterative practice of artistry, which must inform preservation and conservation decision-making.
Of grave concern today is that these collections are at risk when the custodians feel they must sell or dispose of them to reclaim the valuable space they occupy in a private home, or generate much-needed income. Resolution communicates the importance of photographic cultural heritage to people in West Africa and around the world. The Benin workshop provided participants with the skills to document and manage their collections, while networking with others in the region working toward the same goals. The workshop involved nine countries in Francophone West Africa and is actively building partnerships and capacity to make a case for the ongoing support of photographic collections. There is a growing recognition of their critical importance for national identity, education and research. It was an inspiring end to this PMG Winter Meeting.
PMG Winter Meeting – "Cataloging Is Preservation: An Emerging Consideration in Photograph Conservation Programs" by Robert Burton, Feb. 20
“Cataloging Is Preservation: An Emerging Consideration in Photograph Conservation Programs” was the first talk of the Biannual PMG Winter Meeting in Cambridge, MA, February 20-21, 2015. Speaker Robert Burton began with a quote from his mentor Sally Buchanan, who stated, “Cataloging is preservation.” Burton went on to show how that is no overstatement. In a sense, the goal of all conservation is to preserve materials to enable continued access to them, and there is a direct relationship between cataloging and access. Descriptive records in prescribed formats, organized under controlled headings, make photographs discoverable. This in turn sparks research interest, helps institutions identify preservation priorities, and even helps them organize storage more efficiently. Burton showed that cataloging is the foundation of a comprehensive view of collections management and preventive conservation.
A good record should answer the questions: who, what, when, where, why, and how? It gives an institution administrative and intellectual control over its photographic materials. Whereas books and other text-rich objects are more self-identifying, photographs require additional data to be contextualized, and collecting this data requires a cataloger with the appropriate training. A cataloger might be the first person to go through a photograph collection, and that person should possess visual literacy, an understanding of photographic processes, an ability to carry out basic preventive measures such as rehousing, and be able to bring objects in need of special care to the attention of conservators. Because different institutions have diverse approaches (different databases, digital asset management systems, missions, and constituents), catalogers must understand and apply data value standards to bring some consistency to searches for terms such as artists’ names, geographic place names, and so on. (Burton mentioned the Getty Art and Architecture Thesaurus and the Name Authority File from the Library of Congress as examples.)
Recent advances in digital recordkeeping and digital imaging have reduced the administrative burden of cataloging and have also reduced the need for over-handling photographic materials, which can result in handling damage. There are new technologies on the horizon that will help with cataloging, such as automatic captioning of newly created images, or giving photographers a way to record voice annotations as additional metadata. Nevertheless, catalogers will need to find a way to enter this information so it can be searched.
Without knowing its holdings, instititions will not be able to adequately value or safeguard their materials, nor will they be able to care for them. Uncataloged items are essentially invisible: vulnerable to loss, their condition and value unknown.
Burton acknowledged that few library school programs provide students with the opportunity to study photographic materials specifically. He urged this audience to view cataloging as a preventive conservation method on par with environmental monitoring, housings, and the like. He traced the development of this thinking to the 2002 Mellon survey at Harvard, which in turn became the model for the Weissman Preservation Center’s Photograph Conservation Program, and then FAIC’s Hermitage Photograph Conservation Initiative. These surveys show that, by coordinating conservation, cataloging, and digital imaging, photograph collections are more accessible and in better condition. This positive trend should continue as more institutions adopt Susan Buchanan’s mindset: “Cataloging is preservation.”
Job Posting: Paper Conservator – Brooklyn Museum (Brooklyn, NY)
Paper Conservator—Conservation
(Full-time, permanent, non-union position)
Requirements: The candidate for this position must have a graduate degree in conservation, or its equivalent, and at least three years of experience in a museum conservation laboratory. Experience examining and treating both paper and photo collections desired. The candidate must have good interpersonal and communication skills, and the ability to plan ahead for loans, gallery installations, and exhibitions, along with providing work schedules and budgets. The successful candidate must be a team player and participate in the overall goals of the conservation department and the Museum.
Responsibilities: The Paper Conservator will examine, document, and treat the collection for display; maintain conservation records; conduct basic analysis; authenticate objects in the collection; condition possible acquisitions; advise on proper installation, storage, and shipment; inventory and order supplies; and complete other duties as assigned.
Reports to: Carol Lee Shen Chief Conservator
Starting date: To be determined
Schedule: 35 hours per week, Monday through Friday, 9 a.m. to 5 p.m.
Salary: Commensurate with experience
Apply: http://bit.ly/1DmwWIq
Brooklyn Museum is an Equal Opportunity Employer. Applicants for positions are considered without regard to race, creed, color, country of origin, sex, age, citizenship, disability or sexual orientation. Candidates of color are strongly encouraged to apply.
Fellowship: Andrew W. Mellon Advanced Training Fellowship in Painting Conservation – The Menil Collection (Houston, TX)
The Menil Collection, Houston, Texas
Andrew W. Mellon Advanced Training Fellowship in Painting Conservation
The Menil Collection is pleased to offer an advanced training fellowship in painting conservation supported by the Andrew W. Mellon Foundation. The term of the fellowship is one year with the possibility of renewal for up to three years. The fellowship will provide an opportunity for the conservator to participate in all departmental activities associated with a diverse and distinguished collection that includes significant holdings of 20th century and contemporary art. As an integral part of the department, the candidate must have an interest in the variety of issues associated with the study, documentation, and care of such a collection.
The fellowship will commence in the fall of 2015. The stipend is $33,000 and will include all benefits, including health, dental, and vacation, granted to full-time employees of the Menil. Generous travel funds are available. Candidates should be recent graduates of a recognized training program or have equivalent experience and they should have excellent communication skills. Applications should include a curriculum vitae with e-mail address and telephone number(s), a letter of intent, and three letters of recommendation. These should be sent to Suzanne Maloch, Director of Human Resources, The Menil Collection, 1511 Branard St., Houston, Texas 77006 USA, or smmaloch@menil.org.
"Direct care" and Conservation
Starting today, the American Alliance of Museums (AAM) is conducting an online survey on “direct care,” an issue of extreme relevance to conservators and one that could have a major impact on the future of the conservation field.
As most conservators are aware, deaccessioning museum objects is a complicated topic. Currently the AAM’s Code of Ethics says: “disposal of collections through sale, trade or research activities is solely for the advancement of the museum’s mission. Proceeds from the sale of nonliving collections are to be used consistent with the established standards of the museum’s discipline, but in no event shall they be used for anything other than acquisition or direct care of collections.”
While it is commonly understood that funds from deaccessioning should not be used for normal operating expenses, what does the term “direct care” mean? Does “direct care” mean conservation, and if so, could these funds be spent on conservation treatments? Or does “direct care” only mean preventive conservation? Either way, does “direct care” include conservation salaries? Because the term “direct care” is vague, the AAM has established the Direct Care Task Force to clarify the term and make new recommendations. Of course, each museum may have its own, more specific, guidelines and procedures. And while the AASLH also allows for money from the deaccessioning to be spent on “preservation,” the AAMD has stricter guidelines, allowing only for money to be spent on new acquisitions.
What does this have to do with conservation? If the definition of “direct care” were expanded to explicitly include conservation, more funding would potentially be available for conservation. But deaccessioning is already ethically challenging; conservators don’t want to be put in a position of seeming to encourage deaccessioning or to violate our own code of ethics, with our primary goal being the preservation of cultural property.
This important issue calls for dialogue – both among conservators and with our museum colleagues. AAM’s task force unfortunately does not include any conservators, so we must express our voice in other ways.
Links:
AAM Direct Care Task Force
http://aam-us.org/resources/ethics-standards-and-best-practices/direct-care-task-force
AAM Code of Ethics:
http://aam-us.org/resources/ethics-standards-and-best-practices/code-of-ethics
Summer Conservation Internship with NPS – Lowell, MA
THREE MONTH SUMMER INTERNSHIPS IN OBJECTS CONSERVATION AT COLLECTIONS CONSERVATION BRANCH, NATIONAL PARK SERVICE, LOWELL, MA
The Collections Conservation Branch (CCB) of the Historic Architecture, Conservation, and Engineering Center (HACE) located in Lowell, MA is pleased to offer two full-time internships in objects conservation for summer 2015. Beginning and end dates are flexible.
The internships are designed for students currently enrolled in graduate level conservation programs and recent conservation program graduates. The CCB is responsible for the conservation and preservation of collections in the Nation’s national parks and historic homes in the Northeast Region from Maine to Virginia.
Interns would work closely with CCB conservators receiving hands-on conservation training and gaining experience with a wide variety of materials. Some of the planned 2015 summer projects include: treatment of decorative art objects (silver, lacquer, ceramics, gilt wood) from Hampton National Historic Site (NHS), cleaning and stabilization of Tonagan Tapa cloths from Rockefeller Mansion at Marshbillings NHS, cleaning and re-waxing of trail markers at Minute Man National Historic Park (NHP), coatings removal and hot wax application of large outdoor bronze monument at Saint Gaudens NHS.
Internship benefits include:
- Living Allowance: $165/wk
- Housing stipend: $1000/mo
- Travel stipend: $650
- AmeriCorps Education Tuition Award: $1,493
Application Process:
The internship positions are supported through a partnership between the National Parks Service (NPS) and Student Conservation Association (SCA). Consequently, applicants will be required to complete an SCA Conservation Internship application. To obtain an application, please send an email to Kerri Weeks,Conservation Program Coordinator- Northeast Student Conservation Association (SCA), at kweeks@thesca.org letting her know that you are interested in applying for the Collections Conservation Internship with the NPS in Lowell, MA and referencing internship position PO-00651273 (5/31/14-8/22/14) in your email.
NPS 3rd/4th Year Graduate Internship
INTERNSHIP FOR 3rd/4th YEAR GRADUATE STUDENTS IN OBJECTS CONSERVATION AT COLLECTIONS CONSERVATION BRANCH, NATIONAL PARK SERVICE, LOWELL, MA
The Collections Conservation Branch of the Historic Architecture, Conservation, and Engineering Center (HACE) located in Lowell, MA is pleased to offer a full-time internship in objects conservation for the academic year 2015/16. Beginning and end dates are flexible.
The internship is designed for students currently enrolled in graduate level conservation programs. The CCB is responsible for the conservation and preservation of collections in the Nation’s national parks and historic homes in the Northeast Region from Maine to Virginia.
The intern would work closely with CCB conservators receiving hands-on conservation training and gaining experience with a wide variety of materials. Some of the planned 2015/16 projects include: treatment and research of large wooden archaeological hoisting apparatus once used to build the bunker Hill Monument, cleaning and stabilization of large Tonagan Tapa cloth from Rockefeller Mansion at Marshbillings NHS, treatment of phonographs from Thomas Edison National Historic Site (NHS), cleaning and re-waxing of Minute Man bronze sculpture at Minute Man National Historic Park (NHP), stabilization and cleaning of large scale plaster reliefs from Weir Farm National Historic Site (NHS), treatment of civil war composite objects from Richmond National Battlefield (NHB) and a Collection Condition Survey at Vanderbilt Mansion National Historic Site (NHS).
Internship benefits include:
- Living Allowance: $260/wk
- Housing stipend: $1000/mo
- Travel Grant: $650
- AmeriCorps Education Award: $2,822
- Health Insurance: Provided free of cost to intern
Application Process:
This internship position is supported through a partnership between the National Parks Service (NPS) and Student Conservation Association (SCA). Consequently, applicants will be required to complete an SCA Conservation Internship application. To obtain an application, please send an email to Kerri Weeks,Conservation Program Coordinator- Northeast Student Conservation Association (SCA), at kweeks@thesca.org letting her know that you are interested in applying for the Collections Conservation Internship with the NPS in Lowell, MA and referencing internship position PO-00651275 (9/1/14-2/29/16) in your email.