The presenter, Linda Stiber Morenus, began her discussion of these complex prints with a description of the printing process. Chiaroscuro woodcuts were intended to emulate chiaroscuro drawings, which were comprised of black chalk shadows and white chalk highlights on colored paper. Color oil-based printing inks were first used to print 14th-century textiles, being used on paper by the mid 15th-century. The chiaroscuro woodblock prints required two to five separate woodblocks, inked with different shades lighter and darker than the midtone colored paper.
In order to better characterize the media, Morenus collaborated with art historian Takahata, and conservation scientists Eng and Rimbaldi from the Los Angeles County Museum of Art (LACMA). In addition to prints at LACMA, the team studied prints from the British Museum and Library of Congress. Out of over 2000 surveyed woodcuts, 72 were studied in depth, with X-ray Fluorescence (XRF), Fiber Optic Reflectance Spectroscopy (FORS), and Raman spectroscopy. Inorganic compounds were indicated by XRF analysis. FORS was especially helpful for detection of indigo. Raman spectroscopy provided additional information about organic colorants.
Renaissance artists’ manuals, such as Cennino Cennini’s Libro dell’Arte guided the research by providing information on the most likely colorants for printing inks. Inorganic pigments included lamp black, lead white, ochres, vermillion, verdigris, and orpiment. Organic pigments included indigo and a variety of lake pigments.
After providing background information, the presenter began to focus on deterioration and conservation of the chiaroscuro prints. The prints from the Niccolo Vicentino workshop had a high lead content. The inks typically had a low vehicle-to-pigment ratio, tending to turn gray around the edges, due to the presence of lead sulphide. Verdigris corrosion was also a common problem, as found on “Christ Healing the Paralytic Man” by Giuseppe Niccolo Vicentino, as well as 13 other prints from the same workshop. Typical copper-induced paper degradation included yellow-brown halos around inked areas and cracks in the paper.
Fading and discoloration were major problems for the organic colorants, such as indigo and the yellow lakes. Morenus compared copies of Ugo da Carpi’s “Sybil Reading a Book” in the British Museum and the Library of Congress, finding clear evidence that the indigo in the British copy had faded. The British Museum had confirmed the presence of indigo through Raman spectroscopy. At least 8 of the prints were found through XRF to have high levels of calcium in the same areas where indigo had been identified, suggesting the presence of chalk-based lakes. Organic greens had shifted to blue or brown where organic yellows had faded or become discolored.
The presenter concluded with suggestions and caveats for conservation treatment. First, she advised conservators to exercise caution in aqueous treatment, in order the preserve the topography of the prints. The woodblock creates a relief impression in the paper, and the layering of the inks adds another level of texture that might be altered by humidification, flattening, washing, or lining treatments. The low binder content also makes the inks more vulnerable to saponification and loss during alkaline water washing. Morenus warned that the hydrogen peroxide color reversion treatment for darkened lead white would be particularly risky, because the white lead sulphate end product has a lower refractive index than basic lead carbonate original pigment. This means that treated lead white becomes more translucent, and the lower “hiding power” shifts the tonal balance of the print to appear darker overall.
For exhibit recommendations, Morenus suggested that we should always expect to find fugitive organic colorants in chiaroscuro prints, so exhibit rotations should be planned accordingly. Maximum exhibit conditions should be 5 foot-candles (50 lux) of visible light for 12 weeks of exposure, no more often than every three years. She also indicated that overmatting should be avoided to reduce the risk of differential discoloration.
During the Question and Answer period, Morenus clarified the color order used in printing. Some prints were inked from dark to light, but most were printed with the lightest color first.
I thoroughly enjoyed learning about these beautiful prints, but I think that the discussion of the lead white conversion treatment-induced refractive index shift was the most important “take-away” from the presentation.
Month: May 2015
#TruVueGivesBack sweepstakes #AICMiami
Visit Tru Vue booth 308 to enter #TruVueGivesBack sweepstakes and support FAIC. Every entry we receive we’ll donate $5 to FAIC. Every submission is a raffle entry for great prizes, including ten daily Starbucks cards. Grand prize: iPad or 40″x60″ Optium. Grand prize drawing Friday May 15 at 3:30PM. #AICMiami
Developing the Future of Archaeological Conservation: Report of the AIA Education and Training for Archaeological Conservation Committee
Last year, several prominent conservators specializing in the care of archaeological objects as well as interested archaeologists formed the AIA Education and Training for Archaeological Conservation committee. The goal of the group, led by Dr. Alice Boccia Paterakis, Tom Roby, and Claudia Chemello, is to better integrate conservation and field archaeology. More information about the formation of the committee can be found in the March 2014 issue of AIC News.
Several members recently met at the AIA annual conference in New Orleans. Two working groups, each containing archaeologists and conservators who specialize in either land or underwater archaeology, were formed. The first working group focuses on the identification of required competencies for archaeological conservation and the development of education tools, whether site-based training or additions to university curricula, to meet these competencies. The second working group concentrates on outreach and dissemination, including research of relevant publications and journals and collaboration with allied groups.
For more information about this and other issues in archaeological conservation, please come to the ADG business meeting at 1 pm, on Friday, May 15, at AIC’s 43rd Annual Meeting. This post is promoted by the AIC’s Archaeological Discussion Group (ADG). For more information about ADG, please visit ADG’s webpage and visit ADG’s Facebook page.
Job Posting: Head of Preservation Services – University of Miami Libraries (Miami, FL)
Head of Preservation Services
The University of Miami Libraries seeks nominations and applications for a creative, innovative professional to serve as leader for preservation services. Under the direction of the Associate Dean for Collection Strategies and Scholarly Communication, the Head of Preservation Services is responsible for the operation and further development of a comprehensive preservation program for the UM Libraries. The Head of Preservation Services will oversee and coordinate all preservation/conservation efforts, including the management of general collection care activities, the conservation lab, disaster/emergency planning and recovery, environmental monitoring, integrated pest management, education and outreach efforts, exhibition and digitization support activities; collaborates in digital preservation activities.
UNIVERSITY: The University of Miami is one of the nation’s leading research universities in a community of extraordinary diversity and international vitality. The University is a privately supported, non-sectarian institution, located in Coral Gables, Florida, on a 260-acre subtropical campus. The University comprises 11 degree granting schools and colleges, including Architecture, Arts and Sciences, Business Administration, Communication, Education, Engineering, Law, Medicine, Music, Nursing, and Marine and Atmospheric Science (www.miami.edu).
THE LIBRARY: The University of Miami Libraries (www.library.miami.edu) rank among the top research libraries in North America with a collection of over 3.6 million volumes and 95,631 current serials titles, including 93,682 electronic journals. The Otto G. Richter Library lies in the center of the Coral Gables campus and serves as the central library for the University. Other University of Miami libraries include the Paul Buisson Architecture Library, the Judi Prokop Newman Business Information Resource Center, the Marta & Austin Weeks Music Library, and the Rosenstiel School of Marine and Atmospheric Science Library. The University also has independent medical and law libraries. The Libraries provide support and services for approximately 11,273 undergraduates, 5,501 graduate students, and 13,576 full and part time faculty and staff. Excluding the independent libraries, the University Libraries employ 68 professional and 80 support staff and are a member of ARL, ASERL, CLIR, CRL, NERL, OCLC Research Library Partners, HathiTrust, APTrust, DPN, SEFLIN and Lyrasis.
ESSENTIAL DUTIES AND RESPONSIBILITIES include the following:
Performance
• Provides leadership and direction for a comprehensive preservation program, including defining needs, establishing goals, objectives and plans, and managing budget allocations in support of preservation activities;
• Supervises, evaluates, develops and mentors the activities of support staff and student assistants in the provision of collection care, conservation, and binding [currently 2 FTE staff and 3-5 students]
• Collaborates with the Associate Dean for Collection Strategies, subject liaisons, and special collections curators and archivists to develop preservation plans for all collections and set preservation/conservation priorities;
• Provides and/or coordinates preservation assessment surveys of the collection; maintains statistics, and compiles narrative and statistical reports as needed;
• Oversees the repair, restoration, and preservation of materials from special and general collections; develop policies and procedures for preparation of special collections material for exhibit and digitization using best archival and conservation practices
• Continues staff and user education training program for proper materials handling for both special and general collections.
• Collaborates with Digital Strategies staff on management of all phases of the life cycle of the Libraries’ digital assets, to preserve and provide long-term access to them;
• Monitors environmental conditions of collection and exhibit areas and oversees a pest management program;
• Manages the Libraries disaster response plan for collections and electronic resources, coordinates recovery efforts, and develops training programs for library response teams.
• Other duties may be assigned.
Service
• Networks, collaborates and actively participates in local, regional, national, or international organizations regarding preservation issues.
• Represents and promotes the University of Miami Libraries in local, state-wide, regional, national, or international organizations, as appropriate.
• Serves on/participates in Libraries and University organizations, committees, task forces, and teams as appropriate.
QUALIFICATIONS
Required:
• Master’s degree from an ALA accredited program or foreign equivalent.
• Minimum 2 years of experience in a preservation or conservation program at a major academic institution.
• Training in book conservation/preservation. Experience in the treatment of library materials and comprehensive knowledge of preservation practices, issues, and emerging trends.
• Demonstrated knowledge of the life cycle management of digital assets; an understanding of issues related to digital formats, media, and migration, along with an aptitude for quickly mastering technical topics.
• Successful administrative, budget management and supervisory experience.
• Strong leadership skills and ability to work independently, collaboratively, and in teams within the Library and University.
• Demonstrated effective oral, written, and interpersonal communication skills.
• Demonstrated commitment to user-centered library service and the ability to work flexibly and creatively in a changing and fast-paced environment with a culturally diverse population.
• Demonstrated project management, organizational, analytical, and problem solving skills.
• Evidence of continued professional development, involvement, and contribution.
Desired:
• Knowledge of or experience with issues related to digital formats, media, migration, and preservation.
• Knowledge or experience in non-print media preservation, with an emphasis on photographic materials.
• Experience planning and managing grant-funded projects.
SALARY AND BENEFITS: Compensation will be competitive and commensurate with experience and qualifications. This is a non-tenure track faculty appointment at the Librarian Assistant or Associate Professor rank. The position offers a comprehensive benefits package including: TIAA-CREF; medical and dental insurance; life, disability, and long-term care insurance available; tuition remission; 13 paid holidays; and 22 days annual vacation. Additional employment benefits available include credit union; Employee Assistance Program; bookstore, and sporting event discounts; optional fee-based membership in a state-of-the-art wellness center, and no state or local income taxes. More information on benefits can be found at: https://umshare.miami.edu/web/wda/benefits/2015/Summaries/Faculty.pdf
APPLICATIONS AND NOMINATIONS: Review of applications will begin immediately and continue until the position is filled. Applications and nominations will be accepted until a suitable candidate is selected. Applications should be submitted electronically and must include a letter of interest, curriculum vitae and the names of three references.
The references will not be contacted before the appropriate time. Send nominations and applications to:
Human Resources Manager
Otto G. Richter Library
University of Miami
P.O. Box 248214
Coral Gables, FL 33124-0320
e-mail: richter.recruiting@miami.edu
The University of Miami is an Equal Opportunity Affirmative Action Employer. The University has a strong commitment to diversity and encourages applications from candidates of diverse cultural backgrounds.
Call for Participants: AIC National Courier Network System Working Group
AIC National Courier Network System Working Group:
The American Institute for Conservation (AIC) National Courier Network System Working Group is seeking three museum professionals to study the role of the courier and to evaluate the feasibility of reducing the carbon footprint of museum loans through reduced courier travel. The working group tasks will be divided into phases. In the first phase the group will write a survey with the goal of understanding different museums, galleries, collectors, and other heritage institutions’ approaches and protocols regarding loaning objects. The survey results will ultimately be applied towards a White Paper where the working group will outline the necessary steps to creating and implementing a Courier Network System (CNS). In the CNS, qualified museum professionals would provide courier services to their local museums and institutions, drastically reducing the carbon footprint and environmental impact of a museum loan. The CNS would substantially fulfill the museum community’s goals towards more sustainable practices with key environmental and economical benefits not only for public institutions but for the private practitioners as well.
Term for writing survey: June 10- July 30, 2015
Term for evaluating survey results: August 1- October 1, 2015
Please send a short written statement concerning your interest in the committee and your cv to Sarah Nunberg at snunberg@aol.com by June 1, 2015.
Job Posting: Associate Director and Head of Preservation and Conservation Division – Harry Ransom Center (Austin, TX)
Associate Director and Head of Preservation and Conservation Division
Harry Ransom Center
The University of Texas at Austin
The Harry Ransom Center seeks a national leader in conservation to provide direction for the Center’s conservation initiatives and to manage the preservation and conservation activities of one of the finest humanities research libraries and museums in the country. The Head of the Preservation and Conservation Division has responsibility for the preservation of approximately 42 million manuscripts, 1 million rare books, and 5 million photographs, as well as sound and moving image recordings, paintings, decorative arts, and textiles, among other material types.
The Head of the Preservation and Conservation Division oversees three labs dedicated to book, paper, and photograph conservation, as well as a preservation unit. He or she will supervise six conservators, one conservation technician, and one administrative assistant, as well as interns, student employees, and volunteers. The Head of the Preservation and Conservation Division will implement best conservation practices while also being committed to innovation and to fostering a culture of continuous improvement. He or she will serve on the Ransom Center’s senior leadership team and represent the Center within the national and international conservation community and locally with campus and city constituencies. Continuous funding for the Ransom Center’s conservation initiatives is supported by the MacDonald Trust for Preservation and the Elizabeth Olds Endowment.
The Head of Preservation and Conservation:
- Manages the Center’s Preservation and Conservation Division, supervising staff, overseeing departmental activities, and managing the departmental budget and grant administration.
- Consults with the Center’s curators, librarians, and archivists to establish conservation priorities, balancing institutional priorities with the needs of our active exhibition and loan programs.
- Investigates new strategies and technologies to address challenges to long-term preservation and access.
- Conceives of and develops funding proposals for project-based initiatives that further the Ransom Center’s collection care goals.
- Serves on the Ransom Center’s senior leadership team.
- Maintains an effective disaster recovery plan and conducts periodic training and drills to ensure the Center’s preparedness for a variety of threats to the collections.
- Advises the Ransom Center Director and the Building Manager on maintaining an optimum preservation environment for the diverse formats of materials housed by the Center. Represents conservation priorities in long-range space planning and capital improvement projects.
- Cultivates a culture of innovation and continuous improvement and fosters the ongoing growth and professional development of the Center’s highly skilled conservators.
- Trains, advises, and educates the Center’s staff about the proper handling of collection materials.
Required Qualifications:
- ALA-accredited MLS or Master’s degree in conservation of library and archival materials or equivalent experience.
- Five or more years of experience leading a conservation lab or program with evidence of increasing responsibilities, including supervisory experience.
- Demonstrated knowledge of conservation principles, practices, and procedures and knowledge of standards and systems for the recording and management of conservation documentation.
- Demonstrated ability to work collaboratively with curators, librarians, archivists, and other colleagues and excellent interpersonal communication skills.
- Record of successful service within the national conservation community.
- Experience giving presentations to diverse, public audiences and excellent speaking, writing, and presentation skills.
How to Apply:
For further information and to apply for the position, please see job posting number 15-05-04-01-0385: https://utdirect.utexas.edu/apps/hr/jobs/nlogon/150504010385.
Security sensitive; conviction verification will be conducted on applicant selected. The retirement plan for this position is Teacher Retirement System of Texas (TRS) subject to the position being at least 20 hours per week and at least 135 days in length. The University of Texas at Austin is an Equal Opportunity Employer with a commitment to diversity at all levels. All qualified applicants will receive consideration for employment without regard to race, color, religion, gender, national origin, age, disability, or veteran status.
A team of craftsmen or the ravages of time
In the May 3, 2015 issue the The New York Times’ T Magazine, Jessica Dawson wrote about “Filthy Lucre”, Darren Waterston’s take on James McNeill Whistler’s “Peacock Room” which will soon be exhibited in the Freer and Sackler Galleries along with Whistler’s room. According to Dawson, “Where Whistler produced unabashed luxury, Waterston has made melancholic decay: In his version, paintings molder, pigments puddle and shelves splinter.” She noted that it took Waterston and a team of craftsmen eight months to produce this “decay”. How long would it have taken the ravages of time to create similar looking but real decay?
British Museum, 20-21st April 2015. Symposium on the care and conservation of human remains with a focus on natural mummies.
How comfortable do you feel surrounded by skeletal remains and natural mummies? The symposium hosted by the British Museum left no areas unturned, from the excavation, conservation and curation of natural mummies, and allowed participants of the day access to natural mummies from their extensive collection.
Daniel Antoine, curator of physical anthropology at the British museum, kicked the day off by considering the legal aspects and ethics in the curation of human remains. A huge 91% of the British population appears to be on side with the display and retention of human remains by museums for research purposes, but there are obligations. The display of human remains less than 100 years old does not sit well on some peoples’ shoulders and named remains attract a similar apprehension. This seems at odds with the display of Egyptian mummies that often have their names inscribed on their cartonnages, but maybe the longevity of these mummies makes their display more palatable.
Derek Welsby, assistant keeper in archaeology of Sudan and Egyptian Nubia, and Daniel Antoine followed with a description of the problems involved in the excavation of skeletal remains and natural mummies from their resting places, in this instance, the fourth cataract of the Nile Valley, Sudan. Skeletal remains dating back to the Neolithic period were uncovered from various burial sites and natural mummified bodies from the medieval period were excavated from this previously understudied region of The Sudan. Over a 1000 skeletal remains and naturally mummified bodies were donated to the British Museum by SARS, the Sudan Archaeological Research Society via the National Corporation for Antiquities and Museums of Sudan. For the past two years the British Museum have been undertaking research into population genetics and the pathology of these Nilotic human remains. A human remains database has been created by the museum that will open up the research potential of these people, negating the need for physical interaction and reducing the risk of damage to the bodies.
Barbara Wills, conservator of organic artifacts at the British museum had the job of surveying the mummies. She examined, photographed, assessed the needs of each individual and established a strategy for stabilization. Barbara was in the wonderful position of receiving a Clothworkers Conservation Fellowship that allowed her to put all of her time and effort into the development of a passive method of stabilization and display. Barbara has a wonderfully calm demeanor that exudes respect for humanity. I don’t know whether she had this disposition before she started work on the mummies or whether the mummies taught her this respect on her travels with them. A workshop on the second day of the symposium allowed for the exploration of these stabilization and display methods that Barbara developed during her fellowship and shall be discussed later.
The life of the Nilotic people is unraveled not only from research into the human remains but also by analyzing the textiles and leather excavated along side the bodies. Caroline Cartwright, from the department of conservation and scientific research at the British Museum, gave an excellent talk about the problems and pitfalls of trying to identify materials that may have been in close proximity to soft tissues and Anna Harrison, a senior conservator of organic materials at the British Museum, followed with the issues surrounding the conservation of archaeological textiles. Of particular fascination was the discovery of human hair mats that were treated like dry archaeological wool and the revelation that an imprint of a textile may be present on a skin sample even if the textile no longer remains.
A lunch break allowed time for a visit to the temporary exhibition: Ancient Lives, New Discoveries, where a number of the curatorial issues discussed in the morning session could be seen in practice. The use of explanatory and contextual information was well presented and tasteful lighting within display cases offered respect to the mummies.
Nancy Odegaard from the University of Arizona and Arizona State Museum resumed proceedings by discussing the post-excavation deterioration of the Chinchorro mummies of Arica, Northern Chile. The storage facility for the mummies is far too hot and humid and the mummies are acting as the environmental buffer. Deterioration was manifesting itself in the form of a ‘black ooze’ emanating from the bodies. A quick, easy and inexpensive solution to this problem was the introduction of some locally sourced hygroscopic wall coverings that took over the work of attempting to stabilize the environment.
A Sudanese mummy offered Joanna Russell, from the department of conservation and scientific research at the British Museum, the opportunity to use HPLC to investigate the dyes present in colourful textiles adorning the body. All dyes identified, Pseudopurpurin, Purpurin, Alazarin and Indigotin were used in Egyptian dying.
Marie Vandenbeusch, a project curator in the department of Ancient Egypt and Sudan at the British Museum, used infrared reflectography on a tattoo found on the upper leg of a naturally preserved female mummy from medieval Sudan. The tattoo represents one of the earliest known surviving examples of a tattoo from this period and region and represents a Christian monogram of the Archangel Michael. (images found at: http://blog.britishmuseum.org/2014/06/26/tattoos-in-ancient-egypt-and-sudan/) Of particular interest was the fact that it was mainly women that were tattooed and this particular tattoo was hoped to provide protection under Michael, the patron saint of Nubia.
Heather Bonney, a collections manager for human remains and repatriation at the British Museum, discussed the general curation and digitization of the human remains collection at the British Museum. Human remains can be acquired via three different routes. They may have been purchased anatomical specimens, ethnographic collected remains or they may be from an archaeological context and each requires different legal documentation for their storage and display. Osteoware software and the Oracle Word database were then discussed for the digitization of the collection. (The Oracle Word database is really tailored towards a British archaeological context).
Finally but certainly not least Emily Taylor and Simon Prentice, museums assistants at the British Museum, gave a superb talk about the safe packing and transportation of human remains. It is essential that all remains are carefully photographed before travelling so they can be referred to after unpacking and the person unpacking the remains must be able to deconstruct and replicate the packing easily so it must be simple but effective. Cellite honeycomb boards were used instead of the old-fashioned mummy boards but beware, do not use the Aluminium version of the boards if the mummy is to be sent for a CT scan as the Aluminium interferes with the scan.
Barbara Wills lead the second day of the symposium. She gave us an insight into the development of an inexpensive, simple, reversible, reliable and relatively quick way of displaying human remains for display or research using Plastazote LD33 and LD45 (polyethylene foam), PTFE tape and sheets (polytetrafluoroethylene, plumbers tape) and Polyester wadding.
Plastazote LD45 covered in Tyvek (a spun bonded olefin material that is inert and gas permeable) can be placed on a cellite board onto which the mummy can be displayed. Plastazote LD33 can be cut into shape and pinned to the board, offering support or preventing movement.
Fig. 1 Artificial bones being supported or held in place by Plastazote LD33.
There should be at least a 10cm boarder to the outside of the human remains to prevent damage to any delicate parts when being transported. Barbara demonstrated a quick and easy way of cutting the plastazote into shape using only a big sharp knife. (Figure 2)
Fig. 2. Fold the strip of Plastazote LD33 and cut on the outside of the fold. Cut as deeply or as shallow as needed to create the supporting structure.
The wonderful thing about PTFE is that it adheres to itself through static attraction only. There is no adhesive involved! PTFE sheet can be wrapped around Polyester wadding that has been fluffed, to create really soft ‘pillows’. Really soft ‘pillows’! ‘Pillows’ of the size and shape you require. (Figures 3 and 4)
Fig. 3. Barbara Wills demonstrating the construction of a small PTFE and Polyester wadding ‘pillow’ used for the support of a very fragile part of a body.
The PTFE polyester wadding ‘pillow can be pinned directly to the board or supported in a cut piece of Plastazote LD33 to give extra support. This was named ‘The Mushroom’.
Fig 4. Barbara Wills demonstrating the construction of a skull mount using fluffed Polyester wadding wrapped in PTFE sheet. Barbara made a sausage shape that she then curved round and pinned in place. Plastazote LD33 cut into wedge shapes can be pinned at each pole position to offer additional support.
A sheet of PTFE could be pinned to a Plastazote LD33 surround creating a hammock like structure. This could support very fragile parts of a body that would not survive using a conventional support.
PTFE tape can be wrapped directly around a fragile part of a body that needs to be held together and, as there is no adhesive involved it is completely reversible. When the static property of PTFE could potentially be damaging to a fragmented part of a body or where hair is present then the static can be eliminated quickly by shooting a beam of electrons at the material from an antistatic gun. Conventional tying can then be used to hold the PTFE in place.
Barbara Wills was apologetic to those attending the workshop as she considered her ideas simple. However, the simple ideas are sometimes the ones that are overlooked and missed. Barbara has developed a system that can stabilize and display any human remains without the need for chemicals and consolidants. The mummies we observed had been displayed in a manner that negated the need to move them for research purposes. However, if a research project did come along that required the movement of any of the bodies then this could be easily achieved without too much intervention, minimizing any damage that might occur to these priceless human remains.
Author: Julie McBain, MSc student at Cardiff University.
Photographs: Renata Peters, Lecturer, University College London
2015 Annual Meeting EMG/OSG/VoCA Joint Session: Collaboration with Artists in the Preservation of Artistic Heritage
The Electronic Media Group (EMG) and Objects Specialty Group (OSG) of the American Institute for Conservation (AIC) are joining with Voices in Contemporary Art (VoCA) to present a special joint session on the topic of collaboration with artists at the upcoming AIC Annual Meeting in Miami, FL, May 13-16, 2015.
Recognizing that artists have a stake in the legacy of their work has shifted conservation practice in recent decades. Moreover, it is possible to maintain a critical art historical discourse while also integrating the voices and opinions of the artists within preservation strategies for their artworks. The mission of organizations like VoCA has been guided by the possibilities of this shift. Increasingly, these practices are flourishing at major museums across the country.
Many conservators are actively seizing opportunities to interview and otherwise interact with artists. This session provides a venue for novice and experienced practitioners alike, from conservation and allied preservation-related fields, to share their outlook on and practice of collaboration with artists and their associates.
The sessions will be take place on Thursday, May 14, from 2pm-5:30pm, and Friday, May 15, from 8:30am-12:30pm. A ½ hour discussion will be held at the end of each day’s talks, led by Jill Sterrett on Thursday and Glenn Wharton on Friday.
The full schedule for the joint sessions is available here.
Blog at AIC's 2015 Annual Meeting and win!
Each year we receive feedback from colleagues who couldn’t make it to the annual meeting that write-ups of the talks posted here on www.conservators-converse.org were interesting and informative. For the past few years we had so many fabulous concurrent session that even those present at the meeting couldn’t attend all the talks they were interested in and found that they could get a taste of what they missed using the blog. Our blog sees a huge increase in traffic due to annual meeting posts with almost 600 unique visits per day. We know that many colleagues are looking forward to hearing more about the conference and hope that some of you will volunteer and share your thoughts from the meeting.
How To Sign-up:
Signing up is easy. Just click on the link below to access the signup spreadsheet:
https://docs.google.com/spreadsheets/d/1pNEluroUP6aP_Degsdvy0Ns7PMpximU2XDYUkGHia-A/edit?usp=sharing
There is a separate tab down at the bottom for each SG or session. Next, input your name and email next to the talk you are interested in covering. Easy! The limit for signup is two talks so that nobody feels overwhelmed.
What’s In It For Me?
Many people take notes at the talks and writing them up is a great way to organize your notes and thoughts while doing something great for your colleagues and the field. Speakers are often grateful for the feedback. And, yes there is something in it for you…all volunteers who complete two posts will be entered into a drawing to win a FREE 2016 ANNUAL MEETING REGISTRATION!
What do I need to know about Blogging?
Not much! All volunteers will be sent AIC’s Guidelines and Blogging Tip Sheets. Writing a good blog post can take some time but covering a just two talks is very manageable. Here are a few things to know:
- You do not blog in real time so you don’t need a laptop or internet access at the conference– the best way is to take notes and then write up your thoughts later (ideally by the end of the conference or shortly thereafter).
- You need not be an experienced blogger nor particularly tech savvy. The WordPress blog format is extremely easy to use and any necessary hand-holding will happily be provided to make you feel comfortable online. If you can send an email – you can create a blog post.
- There is no pressure to be particularly witty. Active tense, first-person and personal style are all encouraged in blog posts – this is a chance to free yourself from the writing constraints of condition reports! While all posts should be professional overall, the tone is somewhat between reporting and “what I did over my summer vacation”. The best posts tell why you were interested in the topic and what you learned, you aren’t expected to be writing the speaker’s postprint so you don’t need to capture every detail. The goal is for readers to learn more about the talk than they would gain from the abstract. Tips and Guidelines will be provided for all volunteers.
- In addition to the talks we also value reviews of the workshop, tours, receptions and other associated events and sessions.
I Have Some Questions Before Signing Up – Who Do I Talk To?
Contact Rachael Arenstein, AIC’s e-Editor either via email or using the Email AIC’s e-Editor box in the footer of this blog.