Get Ready for AIC's 43rd Annual Meeting, Emerging Conservators!

Hard to believe, but AIC’s 43rd Annual Meeting in Miami, FL is just around the corner! And ECPN wants to make sure you are aware of the many opportunities to get involved and connect as an emerging conservator at the conference. Below, we’ve highlighted just a few of the activities and events that we think will be of particular interest to emerging professionals. Looking forward to seeing you soon in Miami!
**To register for the ticketed events listed below, please visit AIC’s website: http://www.conservation-us.org/annual-meeting/register#.VT_hkMe7lVg


Before you go…
Get your head in the game and take a few minutes to review Tips for Attending Conferences compiled by ECPN for the AIC’s 40th Annual Meeting in 2012. Download this and other resources for emerging conservators from our newly launched page on the AIC Wiki:
http://www.conservation-wiki.com/wiki/File:Tips_for_Conference.pdf
Also, consider signing up to write a blog post or two for Conservators Converse, summarizing a General or Specialty Group Session. This is a great way to engage more deeply in a talk, connect with a speaker, and provide valuable information to colleagues unable to attend the Annual Meeting. If you are interested, sign up for no more than two talks through the Google Docs spreadsheet: https://docs.google.com/spreadsheets/d/1pNEluroUP6aP_Degsdvy0Ns7PMpximU2XDYUkGHia-A/edit?usp=sharing. Contact Rachael Perkins Arenstein, AIC e-Editor, at rachael@amartconservation.com for more information and to receive a log-in for the blog. As an added incentive, everyone who completes two blog entries will be entered in a drawing to win a free 2016 Annual Meeting registration!


Pre-conference Activities
ECPN-CIPP DISCUSSION PANEL ON PRIVATE PRACTICE
WEDNESDAY, APRIL 13, 4-6PM
JASMINE
This joint event with the Emerging Conservation Professionals Network (ECPN) and Conservators in Private Practice (CIPP) will feature a panel of speakers, both established and emerging conservators in private practice, who will discuss the benefits, challenges and fine points of establishing a private practice as an emerging conservator. The panelists include: Ana Alba, Cynthia Kuniej-Berry, Lara Kaplan, Stephanie Hornbeck, and Emily McDonald-Korth. After an initial set of moderated discussion topics, there will be time for questions and comments from the audience.
ECPN-CIPP HAPPY HOUR
WEDNESDAY, APRIL 13, 6-8PM
JASMINE
The ECPN-CIPP joint discussion panel on private practice will be immediately followed by our annual Happy Hour, allowing attendees to continue conversations and network in a less formal setting.
WIKI WORKSHOP
WEDNESDAY, MAY 13, 9AM-5PM
ORCHID B-C
The Wiki Workshop will help you get more comfortable with Wikis and also provides a way to give back to our conservation community! Whether you are new to wikis or are looking to learn advanced functions, this workshop will provide guidance, examples, and the opportunity to immediately put into practice what you learn. Basic coding as well as tips for formatting, images, automation, and smoother workflows will be covered. Participants will have an opportunity to practice their new skills on AIC’s Knowledge Base wiki, the Museum of Fine Arts’ CAMEO, NCPTT’s Preservapedia, and SPNHC’s Best Practices wiki, as well as an open “hackathon” for organizing and generating new content. Participants should bring a laptop with wireless capability; plugging strips will be provided.
This is a ticketed event and registration is $39, which includes a boxed lunch.
CIPP WORKSHOP: PRACTICAL SOLUTIONS FOR RUNNING A SUCCESSFUL BUSINESS
WEDNESDAY, MAY 13, 11AM-3PM
ORCHID
This workshop will focus on three main areas of running a successful private practice: 1) Accurate estimating; 2) Streamlined documentation and billing; and 3) Outreach and marketing update, including tips for producing videos and using blogs.
The workshop will include lots of time for questions and participation and it is intended for both established and emerging conservation professionals. All three subjects are planned for future CIPP webinars as follow up to enhance the learning process and to make the information available to all CIPP members.
This is a ticketed event and registration is $39.00 for CIPP members and $79.00 for non-members, which includes a boxed lunch.
INFLUENCE FOR IMPACT: LEADERSHIP STRATEGIES FOR COLLECTIONS CARE PROFESSIONALS, ORGANIZED BY THE COLLECTIONS CARE NETWORK (CCN)
WEDNESDAY, MAY 13, 9AM-4PM
HIBISCUS B
Conservation and collection care professionals are often called on to lead projects without the organizational power to make decisions. Participants will learn influencing skills, situational leadership techniques, and how to use the art of diplomacy to make a personal difference in value for their organizations or clients. Bob Norris, a management consultant who is deeply familiar with conservation issues will be joined by a mid-career collections manager and an emerging conservator to foster discourse about situational leadership at different points in one’s career. Key concepts will be developed through multiple interactive exercises.
This is a ticketed event and registration is $139.


During the Conference
ECPN SPEED NETWORKING LUNCH
SATURDAY, APRIL 16, 12-2PM
RIVERFRONT CENTRAL
Since it was so successful last year, ECPN is hosting a second annual speed networking lunch on Saturday, May 16th, aimed at conservators in all stages of their careers. From 12 -1pm, attendees are invited to lunch and network informally while from 1-2pm they will engage in 15-minute networking sessions to discuss a topic of their choice, which may include research interests, career path advice, or resume review.
Please join us! Signup is available online through AIC’s annual meeting website – when you register by May 1st, you’ll be asked to fill out a questionnaire that will allow ECPN to match you with your preferred type of professional. After May 1st, matches that correspond to indicated preferences cannot be guaranteed.
This is a ticketed event and registration is $20, which includes lunch.
ATTEND GENERAL AND SPECIALTY GROUP BUSINESS MEETINGS
We know this means getting up early after a fun night of socializing with colleagues, but it’s worth the effort! Attending business meetings is an important way to stay informed about the state of AIC, your specialty group, and our profession. These meetings will help you better understand how AIC operates and give you an opportunity to express you questions and concerns. And remember, someday it may be you at that podium!
Check your conference program or Sched for specific business meeting times and locations.
CALL FOR NOTETAKERS: LIBRARY COLLECTIONS CONSERVATION DISCUSSION GROUP
SATURDAY, MAY 16, 2-3:15PM
TUTTLE/MONROE
This Library Collections Conservation Discussion Group (LCCDG) will explore various methods of outreach. Which channels work best to communicate knowledge and resources? Which best capture community interest? LCCDG is looking for volunteers willing to take notes during the small group discussions during this session. If you are interested in helping out, please contact one of the co-chairs.
Co-chairs, Library Collections Conservation Discussion Group:
Danielle Creech
Associate Conservator and Manger
ECS – Midwest
dcreech@hfgroup.com
Jacqueline Keck
Student and ECPN Liaison
jnknqb@mail.umsl.edu
Anahit Campbell
Book Conservator and Conservation Science Graduate Student
anahitmarina@yahoo.com


Post-conference Activity
ANGELS PROJECT
SUNDAY, APRIL 17, 9AM-4PM
HISTORY MIAMI
History Miami is South Florida’s premier cultural institution committed to gathering, preserving, and celebrating Miami’s history through exhibitions, city tours, education, research, collections, and publications. History Miami’s offsite facility is 12,000 square feet of mixed climate controlled storage space. It houses a variety of the museum’s collections such as the outboard boat and motor collection, aviation collection, archeological materials, and the Whitman Family collection. The building was acquired by the museum in 1990.
The facility is located 15-20 minutes north of the museum and is unstaffed. The goal for the 2015 AIC Angels Project volunteers is to assist in improving the space, and the collections it houses, as well as consulting on ways in which to upgrade the facility conditions. The facility has a high dust level and attendees may be subject to warm environments. To volunteer, please contact Ruth Seyler at rseyler@conservation-us.org.

Preview of STASH Storage Tips session in Miami

STASH_logoSafe storage for collections is one of the primary goals of preventive care for collecting institutions, and individuals charged with collections care and cultural institutions often face challenges in designing storage and support systems for individual items or collections. There are few tasks more concrete and practical than devising a storage mount that preserves an object while making efficient use of an institution’s human, financial and material resources. Constructing a successful storage solution requires numerous choices regarding materials, techniques, time and skill.
In May 2014, FAIC, with funding from the Samuel H. Kress Foundation, launched STASH (Storage Techniques for Art, Science and History collections), a web-based resource to share well-designed storage solutions. The site contains the original entries from the printed text, Storage of Natural History Collections: Ideas and Practical Solutions, originally published by the Society for the Preservation of Natural History Collections (SPNHC), and has begun receiving new submissions, including storage projects that were presented last year at the first STASH Flash session as part of AIC’s 42nd Annual Meeting. The website project is interdisciplinary and the site’s editorial board is composed of representatives from a range of allied organizations
The 2015 STASH Flash session to be held at the Miami meeting on May 13, 4:30 – has an exciting lightening round of tips lined up.  Tips presented at the session will be formatted and appear on the www.stashc.com website after the meeting.  We hope that you will join us to kick of the meeting with a practical take on storage and rehousing.  Read on to see what is in store….
OVERSIZE OBJECTS
Contributor(s): Angela Andres & Laura McCann
Institution: New York University Libraries, Barbara Goldsmith Preservation and Conservation Department
Collection Type: Rolled Archival Materials
This hanging housing system is designed for oversize low-use rolled items. Objects too large for flat files or unlikely to be accessed often can be rolled around an archival tube and suspended with S-hooks from cage in stack areas (or eye-hooks may be secured into wall if cage is not available). Pressure-mounted Ethafoam bumpers support the tubes and protect the rolled objects from pressure against wall or cage. S-hooks and bumpers can be easily shifted or removed as necessary.
 
Contributor(s):Andrew Hare
Institution: Smithsonian Institution, Freer Gallery of Art and Arthur M. Sackler Gallery
Collection type: East Asian Paintings/Scrolls
Of great concern for the preservation of East Asian paintings is the damage caused by rolling scrolls around small diameter roller rods, a problem that typically results in severe creasing and pigment loss. This inherent vice in the design of Chinese and Japanese hanging and handscrolls can be greatly alleviated with the addition of a roller clamp, known in Japanese as a futomaki soejiku or simply futomaki. This roller clamp is closed around the roller rod of the scroll to at least double the diameter of the scroll when rolled. This simple and functional solution has the disadvantages of being made from an acidic, off-gassing l wood, can be quite heavy and is usually difficult and expensive to obtain in the West. Two alternative options are preservation rollers, developed within the Freer and Sackler Galleries’ East Asian Painting Conservation Studio. They are made from folded Mylar (polyester sheeting) or Ethafoam tubing covered with Stockinet. The Mylar preservation roller is best for handscrolls and smaller hanging scrolls. The Ethafoam preservation roller works best for larger scrolls. Both preservation rollers are made from inert, lightweight materials that are readily available in the West. With the instructions provided, conservators, volunteers, interns and fellows can easily produce these preservation rollers at a relatively low cost and greatly improve storage conditions for East Asian scrolls.
 
Contributor(s): William Bennett
Institution: Smithsonian Institution Archives, Conservation Specialist
Collection type: rolled oversize graphic recordings placed in a custom housing
Items of an unusual shape or size perpetually pose problems of storage and access for archives. One recent example from the Smithsonian Institution Archives is a collection of six rolls of oversize drawings—a set of graphic recordings of planning sessions, which ultimately resulted in the formation of the current strategic vision of the Smithsonian. Neither flat nor offsite storage was possible due to the unusual dimensions, necessitating a custom housing that would remain in the Archives’ onsite storage. The drawings were wrapped around archival cores fitted with corrugated board feet to increase stability and protect the bottom edges; these rolls were placed into a custom two-piece box, made from more corrugated board. Both the lower portion and the lid are composed of two pieces attached with mitered flaps, with each piece pre-scored to ensure clean folds. Time will tell whether this housing solution functions as well as hoped. While this solution was not ideal, it is effective and was an excellent opportunity to experiment with custom enclosures.


BOXES & SHELVES
Contributor(s):Jennifer Lewis & Nancy Lev-Alexander
Institution: Library of Congress/ Conservation Division / Head, Collections Stabilization Section
Collection type: Pre-Columbian inorganic ethnographic items
The Library of Congress holds relatively small but highly significant collections of 3-dimensional artifacts from the J.I. Kislak Collection that present challenges for storage and research use. Unlike museums which often have customized furnishings and specialized staff required for safe storage and handling, the Library must accommodate these objects among its standard shelving and provide housings that protect the object when handled by curators or researchers with a wide range of object-handling experience and skill. Staff from the Collection Stabilization Section have designed a storage solution based on customized inner fittings applied within paperboard boxes that were made either by hand or on automated equipment depending on size. The inner fittings created of safe materials such as alkaline board, polyester batting, Ethafoam planking, polypropylene fabric, and Tyvek, provide support and cushioning around the object while creating malleable cavities or drop or removable walls that allow easy viewing and access to the object. This presentation will demonstrate how this housing solution has been customized to provide protection for a wide range of Library objects. Additional information will demonstrate strategies for protecting larger pre-Columbian ceramic objects without full boxing within gasketed cabinets. The same housing solution has also been applied to artifacts from the Alan Lomax collection including sound recording equipment and other tools of his ethnographic sound recording work.
 
Contributor(s): Stephanie Gowler & Susan Russick
Institution: Northwestern University Library
Collection Type: Housing objects on library shelving
As a purpose-built library, Northwestern’s shelves are integrated into the structure of the building.  This means we can never adjust the position of the shelving units. Irregularly sized or shaped materials still need to fit in sequence in the collection. Examples include letters written on petri dishes which must fit into a document box with other correspondence, a scroll that needs to be stored vertically on the bookshelf, and puppets from a 1960s television show.  Our protocol begins with compiling a reference sheet of shelf sizes and the maximum sizes of boxes that can fit on those shelves. Labeling preferences for each curator are also recorded.   The exterior of boxes are standardized while the interior is customized. Curatorial and use patterns also influence housing decisions.  This presentation will show housings used for books, papers and objects at Northwestern.
Contributor(s):Angela Yvarra McGrew
Institution: Cantor Arts Center, Stanford University, Contract Conservator
Collection type: Archaeological and ethnographic art, from Africa and the Americas
The goal of the project is to re-house all of the African and Ancient American Collection to create layers of visibility with researchers in mind so that direct handling is only necessary in special cases. Open shelving requires that each box will have a lid. A window is provided to prevent packing being taken apart to confirm the contents. The boxes take into account the potential for earthquakes in this region but are not meant for travel/shipping.
 
Contributor(s): Rebecca Newberry
Institution: Science Museum of Minnesota
Collection type: Drop-front boxes for Natural History objects and specimens
Custom made drop front boxes are ideal for housing fragile objects stored on open shelves. The front of the box is designed to fold open from the bottom, allowing free access to the object stored within. The drop front has flaps which are fastened to the side of the box with envelope-style string and button closures. This system is more reliable than adhesive hook and loop (Velcro) fasteners commonly used. The boxes can be made from either corrugated cardboard or corrugated plastic.
 
Contributor(s): Rebecca Newberry
Institution: Science Museum of Minnesota/Conservator
Collection type: boxes for natural history
Double scored folds in corrugated plastic boxes with attached lids: Corrugated plastic boxes with attached lids are useful for frequently accessed objects. Since the lid cannot be separated from the box, it cannot be misplaced. It is important to allow the attached lid to fold back completely for best access. The lid fold is scored along the interior and the exterior flutes. This double scored fold allows the lid to fold back, leaving the top of the box clear for object access.
 
Contributor(s):Gretchen E. Anderson & Deborah G. Harding
Institution: Carnegie Museum of Natural
Collection type: Microclimate storage for archaeological metals
The CMNH Anthropology Department is in the beginning phase of a major NEH funded reorganization of collections storage. One of the first projects is to improve storage conditions for small archaeological metals. Thirty years ago these had been placed in plastic bags and Rubbermaid™ containers with silica gel (which had not been reconditioned since the original storage was developed). Plastic bags and polyethylene foam padding were all that protected these fragile objects. Some were stored in Masonite™ and wood drawers, with only a thin layer of foam between them and the wood. The new storage project was the perfect opportunity to apply new methods. The new system had to provide better physical support and organization for the collection, as well as buffering fluctuating relative humidity and protecting the sensitive collection from contamination. The new storage solution is compact, simple and cost effective.
 
DRAWER SOLUTIONS
Contributor(s): Alison Reppert Gerber
Institution: Smithsonian Institution, National Museum of African American History and Culture
Collection type: 16” lacquer transcription audio discs
In the fall of 2014, the National Museum of African American History and Culture prepared 24 audio discs of varying formats for travel in order to digitize their rare audio content. Five of these discs exhibited varying degrees of delamination and required innovative packing and long-term storage solutions. First, we created a simple clamshell-style box from archival blue board. Using Volara® polyethylene foam cut into circles (6” in diameter) and wooden dowels wrapped in Teflon® tape, we were able to secure the disc in the box while suspending the grooved portion of the disc, which was the primary area suffering from delamination of the nitrocellulose lacquer coating. By adding Velcro® closures to the exterior of the box, it could safely be transported vertically to reduce surface tension on the disc. All five discs were given their own enclosure and then placed into one large box for stability and transport.
 
Contributor(s): Angela Andres & Laura McCann
Institution: New York University Libraries, Barbara Goldsmith Preservation and Conservation Department
Collection Type: Panorama photographs and/or maps
A simple-to-construct modular system for dividing flat file drawers to house panorama photographs (or other long/narrow items such as maps or broadsides). Dividers of E-flute board or 20-point board are held in place by panels of the same type of board and can be fitted to either x or y orientation. Easy to remove, add, and alter divider sections, this is an easy and low-cost solution to the difficulty of housing these odd-shaped items.
 
Contributor(s): Angela Andres & Laura McCann
Institution: New York University Libraries, Barbara Goldsmith Preservation and Conservation Department
Collection Type: ephemera
Housing for a collection of political buttons using stacked placards of Volara-lined B-flute board. B-flute board is lined on both sides with thin Volara (tacked at corners with linen thread, eliminating the need for) and buttons are affixed to the placards with their own fasteners or, when fasteners are missing or damaged, placed in small poly zipper bags and tacked to placards with linen thread. Placards are stacked inside standard archival document boxes that integrate well in existing shelf space.
 
Contributor(s): Allison Rabent & Jane Klinger
Institution: United States Holocaust Memorial Museum
Collection Type: Drawer Grid, textiles
As in many other museums, much of the textile collection at the United States Holocaust Memorial Museum is stored in flat-file drawers. In preparation for moving the collection to a new facility in 2017, current storage methods are being re-evaluated.  A new housing system was needed to organize and provide stability and protection for armbands and badges of various shapes and sizes. Part of the challenge was to ensure the artifacts could also be housed and organized by accession number. In order to address these issues, an adjustable grid system was created. Dividers made of corrugated blue board were cut to size and modified to create a stable grid that could be placed within the drawer, allowing the textiles to rest safely within individual squares. By adjusting the size and number of dividers, this system can be easily modified to accommodate for storage of a variety of flat media.
 
DOCUMENTATION
Contributor(s): Stephanie Gowler & Susan Russick
Institution: Northwestern University Library
Collection Type: Library and Archival Materials
This presentation will describe the use of the smartphone/tablet app Notability to facilitate documentation and labeling during a large-scale paintings collection survey. Each painting was photographed with the smartphone/tablet camera, imported into Notability, and annotated with a color-coded key to indicate major types and levels of damage. These annotated images were then incorporated into an existing documentation database. Print-outs of the annotated images were attached to wrapped paintings as caution labels, alerting anyone handling the paintings to the most vulnerable areas. This proved to be an efficient way to create on-the-fly condition notes and produce a quick visual reference for future conservators. This method could easily be adapted for triage in disaster response situations, large-scale surveys across multiple storage locations, or anytime there is a need for labels cautioning handlers about an object’s condition.

Heritage Preservation Programs Transition to FAIC

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Washington, DC — April 27, 2015 — Throughout its 33-year history, first as the National Institute for the Conservation of Cultural Property and then under its current name, Heritage Preservation has fulfilled its mission to preserve the nation’s heritage for future generations through innovative leadership and educational agendas. It has steadily advocated for the protection of cultural heritage by creating programs, publications, and easily accessed products that advance the field of conservation and serve the needs of allied preservation professions.
Heritage Preservation’s programs have been tested and proven. Hence, they are trusted and highly valued. Their loss would be severely felt throughout the cultural heritage community. Research undertaken over the past six months indicates that several synergies exist between the programs of the DC-based Foundation of the American Institute for Conservation of Historic and Artistic Works (FAIC) and Heritage Preservation. For this reason, following the recent vote by Heritage Preservation members approving its dissolution as of June 30, 2015, several popular Heritage Preservation programs will transition to FAIC, thus ensuring their continuation.
Programs That Will Move to FAIC
FAIC will administer and lead three primary emergency planning, preparedness, and response programs currently offered by Heritage Preservation: Alliance for Response (AFR), State Heritage Emergency Partnership (SHEP), and Risk Evaluation and Planning Program (REPP). FAIC will also promote the annual MayDay campaign in 2015 and into the future. Heritage Preservation’s plan to develop an app called the Disaster Assessment Reporting Tool (DART) is on hold until funding is obtained to develop a prototype.
Transfer of the Connecting to Collections (C2C) Online Community program, and other activities related to the statewide preservation planning and implementation program developed and funded by the Institute of Museum and Library Services (IMLS), with programmatic assistance from Heritage Preservation, began in December 2014, and has been fully implemented as C2C Care.
FAIC is in the process of hiring additional programmatic and support staff, as well as part-time contractors, to ensure that former Heritage Preservation activities will thrive. Four key Heritage Preservation staff members will be retained, allowing uninterrupted access to their expertise.
Heritage Preservation’s joint award with the College Art Association was presented in February 2015 in New York City. The College Art Association and the American Institute for Conservation of Historic and Artistic Works (AIC) have agreed to form a partnership in time for the 2016 award. It is hoped that a new organizational arrangement for the joint Heritage Preservation/AIC Ross Merrill Award for Outstanding Commitment to the Preservation and Care of Collections can be announced prior to the 2016 award cycle.
Although FAIC will not directly oversee Heritage Preservation’s Save Outdoor Sculpture! and Rescue Public Murals programs, existing digital materials from these and other initiatives will be hosted on FAIC’s Conservation OnLine (CoOL) website to ensure continued access.
The Smithsonian Institution Archives, the Campbell Center, the National Park Service, the Library of Congress, the Washington Conservation Guild, the University of Maryland Archives, Conservation Resources Management, and the George Washington University Libraries graciously agreed to accept library and archival materials so that they may continue to be put to good use.
After April 30, 2015, the Heritage Preservation Board of Directors will:

  • donate the intellectual property rights for the name and logo of Heritage Preservation to FAIC;
  • transfer copyrights and inventory of all Heritage Preservation publications and products to FAIC so that these important resources can continue to be distributed;
  • work with FAIC to arrange for mail, product sales, and the website URLs to be redirected to FAIC;
  • and allocate all unencumbered monies and transfer unspent funds, as appropriate, to FAIC when the closure of Heritage Preservation is completed.

Other Key Heritage Preservation Programs
The completion and successful delivery of Heritage Health Information 2014, funded by an IMLS grant award with additional support from the National Endowment for the Humanities, the National Endowment for the Arts, The Getty Foundation, and others, will continue to be Heritage Preservation’s principal activity for the first half of 2015, with results tabulated and disseminated to the cultural heritage community by summer 2015.
The IMLS Conservation Assessment Program (CAP), managed by Heritage Preservation, will close on April 30, 2015. Further information about this program can be found at www.imls.gov.
Plans are underway to place the Heritage Emergency National Task Force, of which FAIC is an active member, under the jurisdiction of a federal agency.
Additional Information
Questions or comments regarding the status of Heritage Preservation programs may be directed to Tom Clareson, Acting President, Heritage Preservation (tclareson@heritagepreservation.org), or Eryl Wentworth, Executive Director, Foundation of the American Institute for Conservation (ewentworth@conservation-us.org).
 
To download the announcement, please go to http://www.conservation-us.org/about-us/press-room/hp-release

Climate Change Blog Post 2: Sustainability in light of disaster

In light of this year’s conference theme, Practical Philosophy or Making Conservation Work, the Sustainability Committee would like to highlight how something as intangible as climate change directly affects the practical side of conservation.
This is 2 of 3 in the series of blog posts that explores this relationship. In this one we offer a case study of how climate change affected one institution.


Climate change may seem like an esoteric topic to the average conservator until it hits close to home. In the summer of 2012, parts of the American Midwest experienced drought conditions. Extreme heat, coupled with severe cold the previous winter, led to pavement shifting and subsequent water main breaks. In fact, in the greater Kansas City area, dozens of water main breaks occurred daily at the peak of the summer of 2012.
On August 1, 2012, Lawrence, Kansas, experienced near record high heat. That morning, when staff entered the Murphy Art and Architecture Library at the University of Kansas (KU), located below grade on the first floor of the university art museum, water was rushing in from the ceiling. The art museum was situated halfway down a steep hill, and a water main break in the road above led to water entering the building and traveling down to the library. The force of the water inundated the 14,000 square foot space, covering the floor with many inches of water in short time, and drenching the library stacks with water on the way down.
Ceiling tiles and wet floor after a water main break in the University of Kansas art library. Courtesy University of Kansas Libraries.

Ceiling tiles and dirty water remain after the water from the ceiling stopped. Image: University of Kansas Libraries

Luckily, the University of Kansas Libraries had a disaster plan in place and quickly came up with a recovery plan. Nearly one-hundred volunteers helped remove wet books from the space on the day of the disaster and package them for transport from the library. The combined staff contribution was 279 work hours on the day of the disaster, and subsequent work on further days added many additional hours of staff labor.
Boxing wet books for removal to an off-site drying facility. Courtesy University of Kansas Libraries.

Books packed in boxes for removal to the disaster recovery company. Image: University of Kansas Libraries

The Collections Emergency Response Team worked with university leaders to contract with a disaster recovery company that vacuum-freeze-dried over 17,000 volumes. While better than 97% of the volumes were recovered, thanks to significant planning and training before the event, the toll on the conservation lab was still significant. In fact, between the disaster in August and the following February, the staff in the Stannard Conservation Laboratory focused almost entirely on treatment of materials recovered from the disaster. All but the most urgent outside treatment requests were put on hold.
Industrial dehumidification equipment.

Industrial dehumidification equipment used to dry out the space. Image: University of Kansas Libraries

The damage to the library building was extensive, and the library was closed for over a month. Because the space had to be rebuilt from the ground up, 26,000 volumes not affected by the water main break still had to be moved from the space. Drywall was cut up to 24 inches from the floor to prevent mold growth, so books on wall-mounted shelves had to be removed. Likewise, soggy carpet had to be discarded, requiring that books on bottom shelves in freestanding shelving ranges be relocated. Staff volunteered 212 hours of their time to help place these books on trucks, and hired contractors moved them to a location across campus. Although in an ideal world the collections would not have been returned to a basement-grade location, space restrictions necessitated reusing the existing library.
Rebuilding compact shelving after a disaster. Courtesy University of Kansas Libraries.

Rebuilding compact shelving from scratch. Image: University of Kansas Libraries

In this one, but fairly typical, example, the resources that went into recovering the collections and library space were extensive: nearly five hundred hours of staff time were diverted from other projects to remove books from the space and six months of conservation staff time were focused almost exclusively on recovery of collections. Perhaps the most challenging aspect of this experience is that extreme heat and cold may occur in future years and such a disaster could possibly be repeated. Certainly there are extensive references available to aid us in preparing for a likely disaster, but do we have adequate training to respond to the often very large events that result from climate change? Are we prepared to reserve the resources—financial, personnel, supplies—that such disaster may take? How can we sustain our collections without taxing limited resources?
Email us at sustainability@conservation-us.org or post a comment below.

Job Posting: Paintings Conservator – Chicago Conservation Center (Chicago, IL)

Paintings Conservator
The Conservation Center in Chicago is soliciting applicants to join the company’s Paintings Department as a Paintings Conservator. The ideal candidate must have the following: demonstrated working knowledge of materials, techniques, and ethics of painting conservation; extremely fine manual skills; the ability to carry out treatments of minor to major complexity; using sound judgment; the ability to meet scheduled deadlines; and the ability to work effectively with colleagues and clients as a positive and productive team member.
QUALIFICATIONS:

  • An advanced degree in art conservation with a specialization in paintings conservation preferred, or an advanced degree with comparable training and a minimum of 3–5 years post graduate experience.
  • Examination and treatment related to the comprehensive range of paintings that The Conservation Center treat on a regular basis, ranging from early European to Contemporary.
  • Thorough understanding of conservation theory and practice.
  • Ability to provide written condition reports, treatment recommendations, and post-treatment reports a plus.
  • Demonstrated ability to work independently as well as collaboratively with colleagues
  • Strong communication skills.
  • Ability to adhere to deadlines.
  • Ability to multitask.
  • Ability to collaborate with and manage fellow department staff members to execute successful treatments.
  • Ability to perform the physical labor as required for specific treatments.
  • Ability to work in triage based situations.
  • Responsible for seeing projects through from start to completion.
  • Previous experience in private practice strongly preferred.
  • The position involves occasional travel.
  • Art handling, packing, and installation experience a plus.

This is a full-time salaried position. Compensation will be commensurate with qualifications and experience – benefits include medical insurance, vacation pay and a 401(k) retirement program. The Conservation Center is an equal opportunity and affirmative action employer. All qualified candidates are encouraged to contact heather.b@theconservationcenter.com. Please submit a cover letter, resume, salary history, and three professional references which illustrate qualifications.

Heritage Science Conference London July 14-15, 2015

SEAHA Conference 14-15 July 2015
SEAHA Conference 14-15 July 2015

1st International Conference on Science & Engineering in Arts, Heritage and Archaeology (SEAHA)

University College London, London, UK,  14-15 July 2015

The Science & Engineering in Arts, Heritage and Archaeology (SEAHA) conference is the first international conference on heritage science research, innovation and best practice in interpretation, conservation and management of cultural heritage. Heritage science is a cross-disciplinary field connecting science and the humanities. The conference aims to provide a platform for scientists, engineers, professionals, entrepreneurs, and policy-makers, to engage and discuss emerging trends in the field. We are looking for abstracts that include collaborative and innovative research with a focus on Materials, Environment and Digitization in the heritage field.
Our keynote speakers are:

  • ​Dr. Steve Trow, Director of Heritage Protection, Historic England
    • Science, society, stories and impact: Historic England and heritage science 
  • Dr. Sean O’Reilly, Director at the Institute of Historic Building Conservation
    • Interdisciplinary skills and standards in sustainable conservation 
  • Nancy Bell, Head of Collection Care at the National Archives UK and Co-chair for the National Heritage Science Forum
    • Evidence, Persuasion and Policy in Heritage Science

Registration is open and the deadline for submitting an abstract is now 5 May 2015.

http://www.seaha-cdt.ac.uk/seaha-conference-2015/

Climate Change Blog Post 1 – Water, Water Everywhere

In light of this year’s conference theme, Practical Philosophy or Making Conservation Work, the Sustainability Committee would like to highlight how something as intangible as climate change directly affects the practical side of conservation.
This is 1 of 3 in the series of blog posts that explores this relationship. In this one we ask the question “how has climate change affected conservators in the work they do?”

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Climate change affects everyone, including conservators. For the past few years I’ve been researching sustainability and conservation. Making sustainability seem relevant on a practical level is one of the most challenging parts about convincing others to change their habits.
Much like damage to artifacts due to improper handling or prolonged light exposure, the consequences of climate change becomes more apparent once you see what you’ve been avoiding, the worst-case scenarios. What specific events have already happened where extreme weather and climate change negatively affected how conservators care for art and cultural heritage? Since this year’s conference is held in tropical Miami, this post focuses on weather-related water damage and how it affects conservators and the work they do.
It’s no surprise that floods, storms, and hurricanes have adversely affected many cultural institutions. While many storage facilities raise their lowest shelves a few inches off the ground, take into account the following examples as a cautionary tale of what could happen, even to the most prepared institution.
Photos of water-damaged artifacts at the National Guard Militia Museum.  Photo source: Ashley Peskoe | NJ Advance Media for NJ.com.

Photos of water-damaged artifacts at the National Guard Militia Museum.
Photo source: Ashley Peskoe | NJ Advance Media for NJ.com.

The National Guard Militia Museum in New Jersey experienced severe flood damage during Hurricane Sandy when five feet of water got into their collections storage site. The damage was extensive and difficult to assess. How do you assign value to irreplaceable photographs and handwritten letters? When the “conservation treatment for each large flag would cost between $20,000 to $30,000” how do you prioritize it over other objects? What about the “465 oral history interviews from veterans dating back to World War II, which got wet in the storm”? After the hurricane even the records of these oral histories “were glued to the floor,” said assistant curator Carol Fowler.
The flooded National September 11 Memorial Museum, 2012. Photo Source: Copyright 2012 The New York Times Company.

The flooded National September 11 Memorial Museum, 2012.
Photo Source: Copyright 2012 The New York Times Company.

At the same time the National September 11 Memorial Museum, then still under construction, was “filled with at least seven feet of water during the [Hurricane Sandy] storm.” The flooding had nearly immersed two fire trucks, while the symbolic last column, the steel cross, and the survivor’s stairway were all also partially submerged. And this damage happened after years of conservation and climate controlled storage.
The hurricane damaged Lone Star Flight Museum. Photo Source: Property of the Experimental Aircraft Association.

The hurricane damaged Lone Star Flight Museum.
Photo Source: Property of the Experimental Aircraft Association.

Similarly in 2008 Hurricane Ike devastated the Lone Star Flight Museum “with 6 to 8 feet of saltwater.” While some of the planes were flown out in time, “all the aircraft that remained behind sustained some degree of damage [while] the restored Jeeps and other vehicles were under water.[…] The briny brew corroded their metal frames and engines and soaked their wooden ribs.” Not only planes were damaged but small artifacts as well – “Bits and pieces of various displays — flags, uniforms, photographs — were recovered from the muck. Most were not.” Even their repair shop, with specialty tools and equipment for aircraft repair was “all gone,” meaning immediate conservation work was severely limited. To make a bad situation worse, “the museum had no flood insurance, [so] it will depend heavily on donations to recover.” Larry Gregory, the museum’s president, stated “right now we’ve got to devote all our resources to staying in business,” so routine conservation and maintenance took a back seat to long-term recovery.
The flooded exterior of the River and Rowing Museum. Photo Source: from the 2014 article “Weather forces museums to close” by Simon Stephens.

The flooded exterior of the River and Rowing Museum.
Photo Source: from the 2014 article “Weather forces museums to close” by Simon Stephens.

Even annual flooding can be unpredictable. Last year the River and Rowing Museum, the Spelthorne Museum, the Brocklands Museum, and the Ironbridge Gorge Museum Trust, all in different parts of England, had to temporarily close due to rising flood waters. Catherine Yoxall, marketing manager of the River and Rowing Museum, said that while the museum was lucky since it is purposely built on stilts, “our problem is that we are unable to get anywhere near the building and it simply wouldn’t be safe to expect our staff to try to get in.”
Photos of the 2008 Iowa flood during the recovery process (left and center) and during the flood itself (right).  Photo Source: © 2015 National Czech & Slovak Museum & Library.

Photos of the 2008 Iowa flood during the recovery process (left, center) and during the flood itself (right).
Photo Source: © 2015 National Czech & Slovak Museum & Library.

In 2008 the Iowa Flood flooded the National Czech & Slovak Museum & Library with 10 feet of water causing between eight and eleven million dollars worth of damage to five museum-owned buildings, including 20-25% of their collection. This included “6,000 volumes [of books and] one thousand sixty-seven flood-damaged artifacts.” And the damage occurred after many days of flood preparation where much of their collection was taken off site or moved to a higher floor within the building. All told the museum will need to be rebuilt, costing an additional $25 million.
Left: Collapsed roof at the Huronia Museum. Photo Source: Submitted photo/Bryan Piitz. Right: Water damage sustained by a rug at the Huronia Museum. Photo Source: Jenni Dunning.

Left: Collapsed roof at the Huronia Museum. Photo Source: Submitted photo/Bryan Piitz.
Right: Water damage sustained by a rug at the Huronia Museum. Photo Source: Jenni Dunning.

Even run of the mill thunderstorms can cause incredible damage. The Hurnonia Museum, a local history museum in Midland, Ontario, had survived two back-to-back thunderstorms in August 2014. Since “the entire floor of the museum was covered in an inch of water,” it fared relatively well in comparison to the museums previously mentioned, except for the 19th century rug that was on the floor as well as other low to the ground objects. This is especially troubling because the small museum had a new roof installed just a few months prior after a leak had caused its ceiling to collapse. And with their modest budget they were just hoping “to earn what we earned (last year) or better,” which after closures and emergency costs they could not do.
Conservation as a profession is a balance between the practical and the theoretical knowledge. Climate change and its effects should be directly tied to emergency preparedness and preventive conservation,  and thus to our professional ethics and mandate in that our goal is to care for objects in perpetuity. The practical side of our ethical decision-making is often understated, if even mentioned at all. Perhaps this is because there is no tangible, immediate reward to disaster prevention, or perhaps it is because the process is cumulative and ongoing. In either case it is none the less part of the foundation of what we do as conservation professionals.
When thinking about climate change and conservation, we can take Huronia Museum executive director Nahanni Born’s words to heart, “when you take (an artifact) in, you promise to take care of it forever.” How have you and your organization been negatively affected by climate change? What have you done to mitigate this? What actions can you take, large or small, to have a positive, cumulative effect to mitigate climate change’s effect on your work?
Email us at sustainability@conservation-us.orgor write in the comments.

Removing graffiti from graffiti

The section of the Berlin Wall that sat in the plaza behind 520 Madison Avenue in New York City for more than twenty years has been undergoing conservation treatment before it is reinstalled in the building’s lobby. This is a major effort as 70% of the surface required some type of attention. What struck me the most in the article about this project published in the April 9, 2015 issue of The New York Times (“A Section of the Berlin Wall Will Again Stand in Manhattan”, by David W. Dunlap) was that part of the conservation treatment was the removal of graffiti added to the wall during its New York sojourn. Is there not some irony in the fact that if this were still a part of the Berlin Wall instead of the expensive work of art it has become, there would have been no cause to remove the new graffiti.

Job Posting: Chief Conservator – The Preservation Society of Newport County ( Newport, RI)

CHIEF CONSERVATOR
The Preservation Society of Newport County
The Preservation Society of Newport County seeks a full-time Chief Conservator to join our team.  The Chief Conservator is responsible for supervising and performing conservation services including assessment, treatment, subcontracting and advisory expertise for The Preservation Society of Newport County’s collection of 11 historic museum buildings (seven designated National Historic Landmarks) and 60,000+ collections objects dating from antiquity to the mid-20th century.  The collection includes a range of significant materials including paintings, furniture, fabrics, outdoor sculpture, ceramics, lighting and metals.  The Chief Conservator will ensure that collection care abides by the Code of Ethics of the American Institute for the Conservation of Historic and Artistic Works (AIC), as well as conforms to all relevant AAM and Secretary of Interiors standards and guidelines. The Chief Conservator will represent the Preservation Society at professional conferences, public lectures and programs and through publications. The Chief Conservator reports to the Director of Museum Affairs and collaborates with other departments in the care and display of the museum collections and historic houses. This is an opportunity for a mid career conservator to work on a significant collection in historic Newport, RI.
Hours of work are Monday through Friday, 9am – 5pm, but may require seasonal or temporary adjustment for specific projects or departmental requirements.   The position may require occasional travel, evening, weekend, and/or holiday work.
Responsibilities of the Chief Conservator Include:
Advises the CEO, Director of Museum Affairs, Collections Manager and other senior staff on conservation and stewardship issues.

  • Acts as institutional resource to give reports and provide expert advice on conservation stewardship and treatment at regular meetings of Collections Committee, as well as committees associated with individual properties.
  • Provides technical and writing assistance with conservation related grant applications.
  • Develops and implements treatment proposals for the active or preventive conservation treatment of historic objects and surfaces including furniture, gilded objects, sculpture, ceramics, plaster, paintings, metals and other decorative media, as well as architectural masonry, painted surfaces, woodwork and other materials.
  • Performs and supervises conservation and restoration treatments on PSNC collections in area of expertise and oversees employees and subcontractors working in other media/materials.
  • Participates in outreach activities including supervision of undergraduate, graduate and post-graduate Interns or Research Fellows
  • Communicates technical material to general audiences through lectures and written articles in an engaging, accessible manner, including conducting shop or on-site tours for special interest groups and VIPs and working in publicly accessible sites.
  • Maintains membership and represents PSNC in professional organizations.
  • Advises and provides support for other departments in performance of conservation-related issues such as climate control and monitoring, pest control, art installation and handling.

DEADLINE:   until filled
HOW TO APPLY:
Please email resume/cv, cover letter and contact information for three professional references to Maria Corey at humanresources@newportmansions.org
or mail to:
Human Resources, 424 Bellevue Avenue, Newport, RI 02840  Attn:  Maria Corey

Connecting to Collections Care MayDay Webinar, May 1

Sign up for the next Connecting to Collections Care webinar on disaster recovery.  It’s free!
“After Disasters: Salvage and Recovery in Small to Mid-Sized Museums and Libraries”
May 1, 2015, 2:00 – 3:30, EDT, with Susan Duhl.
Understanding the components of disaster response is key in successful recovery of collections of any type, size, and budget.  This webinar will show professionals and volunteers the steps needed to effectively save collections, including:
       + What happens to collections after fires, floods, mechanical failures, and other events
       + Recovery logistics, team building, and securing supplies
       + Safety and health practices
       + Working with first responders, engineers, contractors and conservators, and local resources
       + Collections triage, handling practices, drying options, soot and mud cleaning techniques, and mold control
       + Long-term recovery: conservation treatment and funding
Susan Duhl is an Art Conservator and Collections Consultant, providing assessments, consultations, and conservation treatment for institutions and individuals throughout the United States and internationally. She specializes in disaster prevention and strategic recovery of art, archival, and historic collections from natural, mechanical, accidental, and man-made disasters. Capabilities include assessments, pre-incident planning, prevention, emergency response, strategic planning for recovery, and conservation treatment. Clients include private collectors, historic houses and societies, and institutional collections of all types and sizes.
Check the Calendar for more upcoming events.
This webinar is part of the MayDay Initiative. All activities hosted by the Foundation of the American Institute for Conservation for MayDay 2015 are sponsored by Polygon Group, offering document recovery, emergency planning services, property damage restoration, and temporary humidity control across the globe.
Connecting to Collections Care is sponsored by the Foundation of the American Institute for Conservation with funding from the Institute of Museum and Library Services.