Month: March 2015

Job Posting: Chief Object Preparator – George Eastman House (Rochester, NY)

George Eastman House International Museum of Photography & Film located in Rochester, New York, seeks an experienced Chief Object Preparator to lead the Object Preparation Department and supervise a staff of two to three people.
In collaboration with curators and conservators, the Chief Object Preparator coordinates, handles and prepares all collection and borrowed materials for George Eastman House exhibitions, traveling exhibitions and loans. He or she collaborates with the Manager of Exhibitions to provide gallery preparation and installation support by the Object Preparation staff.
Other duties include condition reporting, stocking and purchasing supplies, supervising interns and volunteers and teaching students in the Photographic and Preservation and Collections Management Program.
For more information or to apply, please visit http://www.eastmanhouse.org/get-involved/employment.php#chief_obj
 

PMG Winter Meeting – “New Insights into the Composition and Permanence of the Silver-Platinum Satista Paper and the Satista Prints of Paul Strand” by Lisa Barro

Lisa Barro covered new technical information about Satista paper and related topics on preservation of Paul Strand’s Satista prints at The Metropolitan Museum of Art.

 

At the beginning, Barro introduced Satista paper and informed the audience that the current research is building on the previous research presented at the 2003 PMG Winter Meeting, San Juan, Puerto Rico and published in Topics in Photographic Preservation, Volume 10: Lisa Barro, The Deterioration of Paul Strand’s Satista Prints.

 

Satista is a silver-platinum paper introduced in 1914. It was a cheaper alternative to platinum, before palladium paper was introduced. The Strand prints on this paper at the Met show overall fading and discoloration as well as local staining. Barro mentioned that there is a slim chance that the prints under study are platinum-toned barytaless silver paper rather than Satista, but this is unlikely, based on historical information about Strand’s papers. She also mentioned that it is unclear whether or not the Satista paper itself is causing this type of deterioration. It might be that just this group of prints that Strand made is deteriorating in this way, due to the processing, storage history, or other variables. It is possible that there are Satista prints in collections in good condition, perhaps presently identified as platinum prints. Further study and more XRF data will help make those determinations.

 

As part of the research published in Topics in 2003, Barro concluded that the deterioration was related to sulfiding combined with finely divided silver particles and staining possibly related to residual chemistry, but there have been many questions raised by this research. Some of these questions were related to characterization of Satista paper:

  • Does Satista paper have what is called a Japine surface?
  • Was there bromine in Satista paper, because the patent mentioned bromine in addition to chlorine?
  • Some historical literature mentions gelatin, so is it possible that there could be gelatin present as a sizing or binder?

 

Conservators who heard Barro speak at PMG in 2003 have since asked her practical questions related to preservation:

  • Should we exhibit these prints?
  • How quickly are they changing?
  • How sensitive are these prints?

 

This talk addressed these questions by sharing new findings from analyzing 15 years of spectrophotometric data collected from Paul Strand’s Satista prints before and after exhibition, as well as performing analysis on an unprocessed Satista paper with a range of techniques: transmission FTIR, ELISA, SEM-EDX, Raman spectroscopy and XRF. (The pack of unprocessed postcard-sized Satista paper was a gift from photographer Alison Rossiter in 2010.)

 

In general, the analytical results of this study shed some light on the questions above. The study showed no gelatin or bromine in the Satista paper. The question about the Japine surface is as yet unanswered; whether or not Satista has a parchmentized surface is still being investigated. If it does, it is thinner than observed in other prints. Barro also showed SEM images that illustrate where the silver and platinum salts are situated in the unprocessed paper in cross-section (the silver to platinum ratio was 12.5:1), but the implications for processed prints are not yet known. While analyzing the unprocessed Satista paper provided valuable information, it is possible that there were different surfaces made by the Platinotype Company.

 

To answer the questions related to exhibition and change in the prints over time, they used spectrophotometric data collected over 15 years at the Met. Color monitoring of the photograph collection at the museum began in 1992. Dana Hemmenway conducted a baseline study in 1999, and today the museum continues to collect data before and after exhibition to learn more about change during exhibition and storage periods. Katie Sanderson is the primary collector of this data at the museum. She takes measurements before and after exhibition in Dmin, Dmid and Dmax areas and evaluates the data using the CIE L*a*b* color space. Barro presented the findings that the overall rate of change for Satista prints is higher than for platinum, both in storage and on display. Using data for Strand’s portrait of Harold Greengard as illustration, she also demonstrated that the rate of change is measurably faster under exhibition conditions than during periods in storage. This data is still being interpreted and studied, and some data (such as different directions of change in different areas of the print) is posing new questions.  Research is ongoing, but based on these findings, the study suggests that the approach to exhibition of Satista prints should be conservative. They recommend 40 lux, a sealed package, cool storage, and color monitoring.

 

Trying to be clever, he negates what positive effect his essay could have had

While he does not say that furniture restoration is so rarified a discipline that it is beyond contemplation by regular people, in  his profile of furniture restorer Miguel Saco (“Humbled by a Master’s Refinishing Touch”, The Wall Street Journal, March 18, 2015), trying to be clever, Ralph Gardner Jr. unfortunately implies that. With phrases like “I realized I was entering an alternate universe” and “because I know I’m unworthy”, Gardner negates whatever positive conservation outreach his essay could have had.

Finally, some good news from Pompeii

In the March 21, 2015 issue of The New York Times, Elisabetta Povoledo reports (“Restoring the Ruins Once Wrought by Vesuvius”) that major restorations at the Villa of the Mysteries at Pompeii completed earlier this year and presented to the public on March 20th  have brought the colors of the frescoes and the mosaics back to their original brilliance. After so many reports of poor administration of the site, collapsing walls, and other problems, finally we hear some good news from Pompeii

Job Posting: Paper Conservator – West Kowloon Cultural District Authority (Hong Kong)

The West Kowloon Cultural District Authority welcomes exceptional talent with a passion to realize the vision and mission of making the West Kowloon Cultural District a prime local and international destination for arts, culture and entertainment.
We are currently recruiting a Conservator, Paper to join M+.
M+ is the new museum for visual culture in Hong Kong, as part of West Kowloon Cultural District, focusing on 20th and 21st century art, design and architecture and moving image. The M+ building is scheduled for completion in 2018.
Conservator, Paper (Ref:14032R1) (base in Hong Kong)
You are responsible for:

  • supporting Collection & Exhibition Services Team by participating in a wide range of traditional conservation activities such as producing condition reports and treatment proposals, providing expert opinions on the condition of proposed acquisitions and works planned for loan and exhibition, conducting environmental monitoring and IPM, and ensuring preventive maintenance necessary for paper-based works of art, architectural drawings and photographic works;
  • assisting with the development of conservation policies, procedures, protocols and workflows within the museum;
  • participating in extended conservation/ preservation efforts such as developing guidelines for storage and display, best practices for conservation treatment, installation procedures and the proper care and handling of paper-based works;
  • advising and training staff in best practices for the care, handling, display, storage, packing and shipping of paper-based works; and
  • assisting with conservation lab planning and engaging as necessary in conservation and preservation-related special projects.

You should:

  • possess a degree in conservation with demonstrated specialization in paper-based works of art from a recognized conservation training programme or equivalent;
  • have at least 5 years of practical post-graduate experience with paper-based works; institutional / museum experience preferred, experience with photographic materials is desirable;
  • be knowledgeable in modern and contemporary art, including materials and techniques, and demonstrate expertise in diverse conservation techniques and theories;
  • be an innovative and enthusiastic team player with strong critical thinking and applied problem solving skills;
  • have strong oral, written and interpersonal communication skills  in English and preferably in Cantonese or Mandarin; and
  • be proficient in MS Windows and/or Apple OS platforms.

 
For interested parties, please submit your application  along with your CV on or before 1 May 2015 via online application http://www.westkowloon.hk/careers or by mail quoting the reference number, name of the position, expected salary and your availability to:

Mr Galluf Yuen
West Kowloon Cultural District Authority
29/F, Tower 6, The Gateway
9 Canton Road, Tsim Sha Tsui, Kowloon
Hong Kong

 
Data collected will only be used for job application processing. Applicants not being invited for interview within 4 weeks from 1 May 2015 may assume their applications unsuccessful.
All related information will be kept up to 24 months and all personal data will be destroyed afterwards.
For more information: http://www.westkowloon.hk or contact Mr Galluf Yuen at 852-2200-0123

Job Posting: Outdoor Sculpture Conservation Pre-Program Internship – Denver Art Museum (Denver, CO)

Denver Art Museum Pre-program Internship in Outdoor Sculpture Conservation

The Denver Art Museum is offering two paid pre-program internships in the conservation of outdoor sculpture for the summer of 2015.  The internships will be 3 days per week, 7 hours per day, for 5 weeks, starting in mid- to late June.  Under the supervision of the conservator of modern and contemporary art, interns will learn and practice basic skills for the conservation of outdoor sculpture, including washing and waxing of bronzes and maintenance of painted surfaces, as well as written and photographic documentation techniques.
Qualifications for the internship include:
•An interest in art conservation as a career.
•Successful completion of some academic requirements for entry into a conservation graduate program.  Coursework may include but is not limited to chemistry, physics, studio art, and art history classes.
•Ability to handle collection objects with care.
•Ability to exercise critical thinking.
•Willingness to take direction and execute accordingly.
•Proven attendance and follow through of prior job responsibilities.
•Prior experience handling artworks is a plus but not required.
Work will involve some moderate to heavy lifting and use of surfactants, solvents, paint, and wax.  Work will take place outdoors; conditions may be hot and dry.  Interns are expected to follow established safety practices per lifts, ladders, and use of half-face respirators.  Fit testing and training for respirator use will be provided. Internship may include a relevant visit to artist’s studio or foundry.
To apply, please send a cover letter, resume, a summary of relevant coursework with grades, and contact information for two job-related references to Kate Moomaw: kmoomaw@denverartmuseum.org, by April 22, 2015.

PMG Winter Meeting – "Characterization of Digital Output Media… Or How to Hit a Moving Target" by Monique Fischer, Feb. 20

During the first day of the meeting, Monique Fischer, senior photograph conservator at the Northeast Document Conservation Center (NEDCC) gave a talk on her research on the characterization of digital output media. In 2010 Fischer was awarded a Getty Conservation Institute (GCI) guest conservation scholar position to conduct this research and although five years have passed since she started this work, the big picture concepts still remain relevant.
As photograph conservators know, many of the challenges associated with the preservation of digital output media are a result of the rapid development of technology and changes in product manufacture; in some cases materials have become obsolete, their formulations have changed, or their product name has changed. Due to these factors, the importance of gathering the “now” information was emphasized in the talk. This “now” information includes the collection of characterization data (type of paper, surface qualities, and component materials) from unused paper samples.
The impetus for this research project came in 2008 when Fischer noticed yellow stain formation on inkjet papers that had not yet been used. The sheets of inkjet paper were left in ambient conditions for about a year, and were only exposed to indoor air pollutants and some light; the uncovered areas of the paper showed signs of the yellow staining. In the talk, she noted other examples of yellow stain formation seen in different brands of inkjet papers: from consultations with artists as well as firsthand with the digital imaging department at NEDCC. In the latter instance, the staining occurred where the non-archival plastic packaging was in contact with the paper, prior to it being unwrapped. An important factor connecting the papers exhibiting yellow stain formation is that all possessed no optical brighteners (OBAs), and it is known that OBAs, a fluorescent component added to improve sheet brightness, may yellow when exposed to light and heat.
The research project had two major objectives: the creation of a digital paper characterization database and material analysis of paper samples. For the database, 241 paper samples were compiled and they are categorized to include: manufacturer and commercial name, thickness and weight, base substrate and composition, surface texture and finish, presence of OBAs, ink compatibility, and type of coating. Out of this, trends were documented, for instance, 81% of photographic inkjet papers contained OBAs, while only 31% of fine art inkjet papers contained OBAs. Additionally, OBAs were found in different layers of the inkjet papers.
Prior to looking at trends, Fischer notes the importance of using proper nomenclature for these materials. Part of her research includes the development of standardized terminology and she has turned to product discussion groups for photographers and practitioners using these different types of materials in order to gain insight on their current use and application. Though it is apparent that due to the proprietary nature of these materials, characterization may prove challenging.
The material analysis was carried out in conjunction with research scientists Dr. Dusan Stulik and Art Kaplan of the GCI. Initially, Fourier transform infrared spectroscopy (FTIR) was applied as a surface only technique, but due to limited sensitivity, minimally-destructive samples were taken. The findings from one type of inkjet paper were discussed, and in this paper sample, polyvinyl acetate (PVA) and a wax-like material as a possible coating and additive, respectively, were found.
Based on this finding, it was concluded that some coatings on inkjet papers may be PVA, a material widely used in many industries including the paper manufacture industry. In conservation, PVA has been documented as a relatively stable resin, and it is used for certain treatments in book conservation. However, it is possible that the stability of the resin is decreased when combined with additives – thus the yellow stain formation could be a result of degradation in the PVA coating. No conclusions were made on what caused the staining. Additional research goals include conducting gas chromatography/mass spectrometry (GC/MS) as a characterization technique.
Though not fully discussed in the talk, during the question and answer session, a question was asked regarding the impact of the printer profile on the stability of the inkjet print. Without hesitation, Fischer stated that the printer profile may have a tremendous impact on image permanence, specifically in color rendering and amount of ink used when using a manufacturer’s recommended printer profile or a custom printer profile. The main takeaway from her answer is that conservators should do their best [through artist interviews/consultations] to document as much information on an inkjet print including: printer profile, printer, type of paper, type of ink, et cetera, as these factors and their, potentially endless, combinations will greatly impact image permanence.

A boon for public outreach (and great photos too)

Eight and a half years ago,  I spent four days at Villa La Pietra (NYU’s conference and study center in Florence), never leaving the grounds that entire period after I passed through the gates.  I felt as if I had stepped away from the present into some other time . The surreal images of early 20th century garments by Callot Souers discovered in a trunk in one of the rooms of the Villa not too long ago which accompany Jessamyn Hatcher’s essay, “Twenty-One Dresses” in the March 23, 2015 issue of The New Yorker brought back that feeling to me. However, it is the photos of damages to the garments caused by use,  inherent vice,  and poor storage conditions and the discussion of the garments’ conservation issues which thrill me. Right there in The New Yorker there is a sensitive, well thought out discussion of condition and conservation. What a boon for public outreach and education! And what wonderful images, too.

PMG Winter Meeting – “Photographic Paper XYZ: de facto standard sizes for silver gelatin prints” by Jennifer McGlinchey Sexton, Feb. 20

Jennifer McGlinchey started her impressive talk with an explanation of the history of lists of photographic paper sizes. She stated that there were no available references that have lists of ‘standard’ sizes. In fact, the lists of sizes they were able to find were very small, and also corresponded to very specific time periods. Further research suggests that these sizes were not considered standard and were certainly not inclusive of all sizes used. Rather than identify ‘standard’ sizes, she identified ‘common’ sizes by the criteria that they appear in five or more of the references. These she concluded were ‘de facto standard sizes.’ For the study, McGlinchey used Paul Messier’s extraordinary paper collection which consists of over 5,000 samples of silver gelatin photographic paper, as well as 9 manufacturer’s sample books and pricelists and 6 encyclopedias: http://www.paulmessier.com/
 
The use of English-language publications from a few geographic locations (US and Europe) may have been limiting, but in fact, there are very few references from other geographical areas. Concluding that there were common rather than standard sizes is not to say that there were no attempts to standardize paper sizes, but the attempts were never very successful. The result of the study was that she identified over 200 distinct sizes, just over half of which occurred only once. She identified 32 de facto standard sizes. Many of the sizes considered common now in the USA, such as 4×6 and 5×7 inches, are included in that list, but many sizes which are no longer manufactured are also on that list. This includes smaller sizes like 2.5 x 2.5 inch, which were much more common in early days of gelatin silver printing. She mentioned that the measurements for papers grouped together as the same size allowed for a difference of +/1 5 mm along each dimension, to account for natural expansion/contraction, ferrotyping, and so on, which could account for small dimensional changes. As part of the research they also evaluated common thicknesses of silver gelatin paper, and found three de facto standards. The most common was ‘single weight,’ followed by ‘double,’ and finally ‘medium.’ Double weight papers fall above 0.25 mm, medium weight papers under 0.25 and single weight papers under 0.2 mm. The double weight paper started get thicker in the 1930s until the 1950s and then got thinner again, so manufacturers changed the thicknesses over time but not the terminology. It was also found that five common aspect ratios occurred in 88% of the de facto standard sizes. This implies that scaling relationships were a factor for determining silver gelatin DOP paper sizes. Characterization by aspect ratio not only simplifies the dimensional diversity of silver gelatin paper by emphasizing their scaling relationships, but also highlights their relationship with other media. For example, 6:5 is common mainly with plate sizes, 5:4 is the aspect ratio of many large format films. 4:3 is the first motion picture aspect ratio and 8:5 is the golden ratio.
 
The measurements and other data were recorded in spreadsheets (the full results were published in JAIC, Volume 53, Issue 4 (November, 2014), pp. 219-235). It led to the conclusion that there is no easy answer to these questions. No system of standard paper sizes was successfully put in place for photographic papers. Additionally, available sizes varied widely over time and across geographic boundaries.
 
This research can be utilized in identification of artist’s methods and paper preferences. One useful application is to study photograms. This technique was used to great effect by Man Ray and Laszlo Maholy-Nagy, contemporaries working in France and Germany respectively. Of course, each print is unique, because it would be difficult to replicate the exact condition since no negative has been used. Of a selection of 163 prints by Man Ray dating from 1920 to 1940, there were 88 photograms and 75 traditional prints from negatives. Compared with the de facto standard sizes identified by this research, the dimensions of 39 Man Ray photograms (roughly 44%) correspond to de facto paper sizes. From 75 prints from negatives, only 25 (33%) correspond to the de facto paper sizes. This survey shows that Man Ray most likely trimmed his photographs from negatives, but didn’t trim his photograms. Averaging about 3.5 mm thickness, the photograms fall into the category of double weight papers.
 
Man Ray’s process contrasted with the working practices of Laszlo Maholy-Nagy. Print dimensions and estimated thickness for 216 prints by Maholy-Nagy made in Germany between 1922 and 1928 were collected from the catalogue raisonne of his photograms. Of these photograms, 216 or about 89% correspond to the de facto standard sizes identified by this research. The majority of the prints made from negatives were printed on two sizes of paper, 18 x 24 cm and 13 x 18 cm, both de facto standard sizes. This shows that Moholy-Nagy used full sheets of paper for his photograms and didn’t trim them down. The catalogue raisonne describes the thickness measurements of many Moholy-Nagy photograms as single weight or double weight. According to these descriptions Moholy-Nagy used the single weight or double weight papers in equal frequencies and sometimes used both in the same series.
 
Understanding the de facto standard sizes provides a useful point of comparison of these two artists. Differences in their methods can be due to a variety of factors. Moholy-Nagy was known for his scientific approach to photography, as a record of the interaction between light and physical object composed within the border of the paper. His photograms were complete upon processing. In contrast, Man Ray was more acutely engaged in producing highly refined settings of expression; attention to detail and subtle manipulation apply to all aspects of Man Ray’s photography as evidenced by his skilled practices in retouching and using carefully proportioned mounts.
 
In summary, there really were a lot photographic paper sizes available, particularly in middle of the 20th century, when these papers were extremely popular. While there are some de facto standard sizes and thicknesses, silver gelatin papers were made in numerous sizes and the majority of paper sizes listed in the references occurred only once.

Job Posting: Paper Conservator – Saint Louis Art Museum (St. Louis, MO)

PAPER CONSERVATOR
The Saint Louis Art Museum seeks a collegial, collaborative, and energetic Paper Conservator to join its dynamic  Conservation team. SLAM’s collection of works in the prints, drawings and photography collection spans centuries with numerous works by both Eastern and Western masters. This Individual will report to the Head of Conservation and will supervise the Conservation Technician and grant-funded Interns. An ideal candidate will have a broad and solid foundation in paper conservation techniques and be capable of  collaborating with other conservation staff to solve unique preservation challenges. A successful candidate will delight in the opportunity to oversee the conservation of masterworks and will have the attention to treatment and general preservation details that such works require. The Candidate will also have an excellent sense of Project Management and conscientious observations of deadlines. As the Museum’s conservator of paper, the candidate will be expected to plan, supervise, and participate in the conservation and restoration of works on paper in the collections of the Saint Louis Art Museum; to advise the Museum generally on the care of these collections; and to assist in determining conservation policy for the Museum.
 DUTIES, WORK PERFORMED

  • Periodically examine and appraise physical condition of the Museum’s permanent collections:
    • Assess deterioration and damage, and problems involved in remedial treatment.
    • Design and carry out conservation treatment in consultation with the Curator of Prints, Drawings and Photographs.
    • Provide written and photographic documentation to record condition of objects, treatments proposed, and treatments performed.
    • Recommend other Conservators outside his or her field of expertise and review their treatment proposals.
    • Advise on preventative maintenance in the Museum as a whole in the areas of environment, handling, storage, and installation.
    • Examine works on paper prior to acquisition to aid the Curatorial staff in determining their physical and aesthetic condition, as well as their authenticity.
    • Examine works requested for loan to determine suitability for travel and to document their condition, and advise the Registrar and others on any special packing and shipping considerations.
    • Supervise the technician assigned to the department of prints, drawings and photographs, and in particular, review the design and fabrication of mats and frames for the collection. Advise the Registrar and Curators on the installation, storage and maintenance of works on paper in the collection.
  • Administer the Paper Conservation Department:
    • Assist in preparing, monitoring and controlling the departmental budget
    • Recommend acquisition of new equipment
    • Monitor and order conservation supplies

QUALIFICATIONS
Qualified applicants must have a degree from an accredited conservation program or its equivalent and a minimum of 8-10 years conservation experience in paper conservation is required.  Prefer at least 2 years’ experience in administration and staff supervision.
The above statements of this job description describe the general duties and level of work performed by employees assigned to this position. They do not claim to describe all of the functions of this position. Employees may be assigned other duties and the essential functions may change or be changed from time to time.
The Saint Louis Art Museum (www.slam.org) is one of the top ten comprehensive art museums in America, based on the scope and quality of its collection. The museum has four modern conservation labs in the areas of objects, paintings, paper and textiles, in addition to an active Print Study Room.
This is a permanent full time position with a complete benefits package.
Applicants must apply online at Paper Conservator – Apply Here                 or at www.slamcareers.org
The position will remain open until filled.
EOE