Month: October 2015

Succinct advice to pass on to your clients

In the wealth management section of the September 21, 2015 issue of The Wall Street Journal, Daniel Grant provided a brief primer on what an owner of works of art should know about damage and restoration (“The Delicate Restoration Dance”). Working from the proposition that “…when it comes to protecting the value of one’s art, the manner in which a piece was damaged doesn’t matter. What matters a thousand—perhaps a million – times more is how the owner can go about restoring the piece’s value…”, he discussed the assessment of damage, how medium affects the success of a restoration, and how to find out if a potential purchase has been restored. This might be something to hand out to one’s clients.

Job Posting: Supervising Collections Care Conservator – New York Public Library (Long Island, NY)

Supervising Collections Care Conservator

Position Description:

Overview:
The Supervising Collections Care Conservator works to protect and ensure immediate and long-term access of the Library’s vast and important general research collections. The position manages the activities and workflow of the Preservation Division’s Collections Care unit, trains and supervises staff, and performs bench treatment. Manages protective enclosure production, which is critical for collections not suitable for repair, and minimizes risk of further damage or loss while in storage or in transit.
This position manages partnerships with curatorial and library service units related to collections condition assessment, stabilization/repair/treatment, custom housing, mold remediation, pest management, and environmental monitoring. The Supervising Collection Care Conservator will be a primary conservation first responder in the event of disasters affecting Research Library collections. The incumbent is expected to quickly assess and recommend immediate action, triage collections material as well as direct and perform recovery activities.
Principal Responsibilities:
  • Provides leadership and vision for the unit’s activities and for future program development.
  • Manages and performs the broad range of Collections Care activities.
  • Evaluates unit’s processes and outputs, and implements modifications to improve quality and effectiveness.
  • Plans and manages workflows through the lab for digitization, acquisitions damaged collections, and storage/move priorities.
  • Determines appropriate treatments and assigns work to staff.
  • Develops preservation strategies based on collection assessments and surveys.
  • Manages grant, vendor and other projects as needed.
  • Hires, trains, supervises and evaluates lab staff as well as assigns and evaluates work.
  • Ensures that treatment standards and protocols are met.
  • Performs a broad range of treatment activities on various library and archival formats, in accordance with the AIC Code of Ethics and Guidelines of Practice as well as develops and tests new treatment procedures.
  • Designs and produces hand-made and machine-made housings.
  • Manages production from Kasemake automated boxmaking machine; maintains equipment and systems; performs Kasemake production as needed.
  • Provides technical advice and training regarding handling, storage, selection for treatment, and treatment of library collections items.
  • Collaborate with Research Libraries stakeholders in development of Library policies and practices.
  • Collaborates with NYPL curatorial staff to establish unit priorities and quotas for collection items as well as with central library technical service operations (BookOps) to prioritize and provide treatment and stabilization of acquisitions.
Minimum Qualifications:
  • Master’s degree or certificate from an accredited graduate training program in conservation.
  • ALA-accredited Master’s degree in library and information studies or substantial work experience in a research library environment preferred.
  • Knowledge of conservation theory and practice.
  • Professional experience in a wide range of conservation treatment procedures of various paper-based formats, as demonstrated by a portfolio.
  • Experience in disaster recovery procedures for library/archival/museum materials.
  • Knowledge of book history, book binding, papermaking, paper deterioration and materials science.
  • Knowledge of preservation issues and current trends facing large research libraries across the nation.
  • Successful management skills, including the ability to train and supervise staff and assess work.
  • Successful organizational and analytical skills, including experience organizing and managing projects and/or workflow in a production setting.
  • Strong computer and database skills, including the ability to work with integrated library systems.
  • Excellent interpersonal, verbal and written communication skills. Ability to work collegially across a large, complex, and dynamic organizational setting.

To Apply: https://jobs-nypl.icims.com/jobs/8798/supervising-collections-care-conservator/job

New Collection Storage Book Seeks Cover Image

new-bookThe Society for the Preservation of Natural History Collections, The American Institute for Conservation, the Smithsonian Institution, and the Museum Studies Program of George Washington University are collaborating on a new book entitled Preventive Conservation: Collection Storage.  The volume discusses all aspects of collection storage, from planning and assessment, through building design and facilities management, to storage furniture and specimen housing. It is due for publication in late 2016.
As part of the book design process, the editorial board is seeking a cover image that reflects the concept of (good) collection storage. We hope that you will contribute one or more images you feel would work well. Given the scope of the book, the image might be a photograph at the building, room, cabinet/shelf, or object level, or simply reflect a “good storage concept.”
There is no financial reward, but you and your institution will receive full acknowledgement and a free copy of the book and, of course, incredible bragging rights!  The winning image may also be used on the book website and other promotional materials.
If you’re interested in submitting an image for consideration, please send a horizontal image, at least 300 dpi, and minimum of 8 in W x 5 in H (2400 x 1500 pixels, 300 pixels/inch). JPG or TIF format preferred to Lisa Elkin (lelkin@amnh.org) or Chris Norris (christopher.norris@yale.edu) by October 31.

Upcoming ECPN Webinar: Demystifying the Publishing Process in Conservation

The Emerging Conservation Professionals Network (ECPN) is pleased to announce that our next webinar “Demystifying the Publishing Process in Conservation” will take place on Thursday, November 5TH from 12-1pm (EST).
The program will feature three speakers who will share insights from their own publishing experiences: Curator/Conservator Sanchita Balachandran has published in a variety of venues; Research Scientist Michele Derrick served as the editor-in-chief of the Journal of the American Institute for Conservation (JAIC); and Conservator Carolyn Riccardelli is AIC’s Director of Communications. The presenters will discuss a range of topics including publishing platforms, the process of writing a peer-reviewed article, collaborative writing, and funding. ECPN hopes that at the conclusion of the webinar, the prospect of publishing will seem less intimidating to conservators at all levels.
ECPN is seeking question submissions for the Q&A session following the presentation. Please submit your questions as comments to this post, or contact ECPN’s Professional Education and Training co-Officer, Elyse Driscoll at elysedriscoll@gmail.com or ECPN’s Chair, Fran Ritchie at franritchie@gmail.com. Questions will be accepted until the morning of the webinar. Unanswered questions will potentially be addressed in an AIC blog post following the webinar.
Attendance is free and open to all AIC members! Registration is required. To register, please visit https://attendee.gotowebinar.com/register/7465914120413258753.You will receive an email with information on how to connect to the webinar shortly before November 5th.
If you miss “Demystifying the Publishing Process in Conservation” or wish to watch it again later, it will be recorded and uploaded onto the AIC Youtube channel.  For a listing of past ECPN webinars, please visit our archive on AIC’s blog Conservators Converse, our Wiki page, or AIC’s Youtube channel.
About the Presenters:
Sanchita Balachandran
Sanchita Balachandran is the Curator/Conservator of the Johns Hopkins Archaeological Museum and Lecturer in the Department of Near Eastern Studies at Johns Hopkins University. She teaches courses related to the technical study and analysis of ancient objects, as well as the history, ethics and practice of art conservation. She completed her graduate work in art history and art conservation at the Institute of Fine Arts, New York University.
Michele Derrick
Michele Derrick is the Schorr Family Associate Research Scientist at the Museum of Fine Arts, Boston where she has worked since 1995. She was instrumental in the development of CAMEO, an online database for information on materials used in conservation and works of art. Prior to 1995, she worked as a scientist at the Getty Conservation Institute in Los Angeles for 12 years. A chemist by training, Michele’s expertise is in the area of infrared microspectroscopy and she is the author of Infrared Spectroscopy in Conservation Science (Los Angeles: Getty Conservation Institute, 1999). She was also the editor–in–chief of the Journal of the American Institute for Conservation from 2002-2014.
Carolyn Riccardelli
Carolyn Riccardelli is a conservator in the Department of Objects Conservation at The Metropolitan Museum of Art where she is responsible for structural issues related to large-scale objects. From 2005-2014 her primary project was Tullio Lombardo’s Adam; she was the principal member of a team of conservators and scientists conducting research on adhesives and pinning materials, as well as developing innovative methods for reassembling the damaged sculpture. She is an active member of the American Institute for Conservation of Historic and Artistic Works (AIC), and is currently serving on the AIC Board of Directors. Carolyn holds a B.A. in anthropology from Newcomb College, Tulane University and an M.A. from the Art Conservation Program at Buffalo State College.
 
Posted on behalf of Elyse Driscoll, ECPN Professional Education and Training co-Officer

Apply Now for Fellowships at The Met (NYC)

Metropolitan Museum of ArtThe Metropolitan Museum of Art annually welcomes a vibrant group of graduate students, museum professionals, and senior scholars from around the world to undertake research and independent study as Metropolitan Museum fellows. The diversity of fellows’ projects reflects the historic and geographic diversity of the Museum’s collection. The community of fellows becomes immersed in the life of the Museum and takes part in a robust program of colloquia, round-table seminars, research-sharing workshops, behind-the-scenes tours, conversations with Museum staff, and tours of the collection and exhibitions. As they discuss research questions, look closely at objects, and share the experience of living in New York City, fellows form long-lasting professional relationships.
Applications open now. Please follow the link for more information.
http://www.metmuseum.org/research/internships-and-fellowships/fellowships

Easy Yoga for Conservators

Here are three simple, quick yoga sequences, all from Yoga Journal, that are good for conservators. The first two sequences are nice for anyone who sits at a desk or a lab bench for long periods of time. If you have frequent neck pain or headaches, check these out. They were written by Ray Long, an orthopedic surgeon, and they help correct for upper and lower crossed syndrome. These syndromes occur when muscles shorten, tighten, and weaken as a result of sitting for long periods of time. You can read the full article about these muscle imbalances here, or you can go straight to illustrations of the issues and the slide shows of poses. Click here for upper crossed syndrome and here for lower.
The third sequence (click here) is good for anyone who stands for long periods of time, or who has lower back pain in general. I like this as an antidote to the pain caused by standing on my museum’s concrete floor for hours during exhibit installation. This sequence is written in ten minute increments, so that you can keep going and practice for up to 30 minutes if you like. Personally, I only ever do the first ten minutes.
You can do these sequences without a yoga mat, but make sure to practice in bare feet on a non-slippery surface. You will need a belt for the upper crossed and back pain sequences. You can use a yoga belt, a regular belt, or – if you don’t have any kind of belt at all – you can use a scarf or a towel. The upper crossed sequence also recommends lying on a bolster. If you don’t have a bolster, you can use anything that will allow your chest to open while still supporting your head: roll up a towel, a blanket, or try a sofa cushion (removed from the sofa).  For the lower-crossed sequence, a block is useful. If you don’t have a yoga block, you can improvise. When I’m traveling, I use my one-liter, Nalgene water bottle as a block; it’s the perfect height. If you are not super flexible, you might not need a block at all – your thigh might work fine.
Happy practicing!

How will we deal with the ruins should order be restored?

When reading “Ancient City Faces Destruction”, by Dana Ballout in the October 6, 2015 issue of the Wall Street Journal, the latest of the seemingly non-stop reports of the destruction of ancient monuments and sites in the Middle East by Daesh (the preferred name for “Isis”), I began to wonder what will happen conservation wise should a time come when there is stability in the region and governing bodies that are not threatened by the existence of the visible remains of a multiplicity of cultures. Will these destroyed sites be reconstructed in some way either physically or virtually? Or will the ruins be left as is because their destruction is an important part of the history of the sites?

Advocacy Alert: Illinois Gov. Bruce Rauner closes Illinois State Museum! Act Now!


In a move harmful to the people of his state and to the preservation of its history and culture, Governor Bruce Rauner has closed the Illinois State Museum in Springfield and its four satellite institutions.  While trying to eliminate a budget deficit, this closure threatens income to the state from cultural tourism, deprives school children of educational opportunities, and impedes research into the natural and cultural heritage of Illinois.  In the long run, the closure of the Illinois State Museum threatens the security and future existence of the artifacts, records, and educational resources held in trust by the museum for the citizens of the state.
Please contact Governor Rauner to advocate for preservation of the cultural property held by the museum and for public access to its collections that allows for research and discovery.  http://www.illinois.gov/gov/contactus/Pages/VoiceAnOpinion.aspx
Note – The above link will take you to a comments page managed by Governor Rauner’s office. While the state of IL is pre-selected you can change it to your state. The form asks you to pick from a list of issues. You would select “Closure of State Museums”.

Job Posting: Objects Conservator, National Air and Space Museum (Chantilly, VA)

Objects Conservator
Smithsonian, National Air and Space Museum
See posting at:  https://www.usajobs.gov/GetJob/ViewDetails/417445500
Job Title:  Conservator
Agency:  Smithsonian Institution
Job Announcement Number:   15R-JW-300954-TRF-NASM
SALARY RANGE:   $63,722.00 to $82,840.00 / Per Year
OPEN PERIOD:   Thursday, October 1, 2015 to Thursday, October 15, 2015
SERIES & GRADE:   IS-1001-11
POSITION INFORMATION:   Full-Time, Permanent. – This is not a Federal Position, but has similar requirements and benefits.
PROMOTION POTENTIAL:  11
DUTY LOCATIONS:   1 vacancy in the following location:  Chantilly, VA