Month: April 2016

Conference Review – Subliming Surfaces: Volatile Binding Media in Heritage Conservation

This review was written by Tony Sigel, Conservator of Objects and Sculpture, Harvard Art Museums and originally published in ICOM-CC Scientific Research Working Group Newsletter, Vol. 1, No.1, 2015.  It is posted here with permission of the author.

April 15–16, 2015
Cambridge, United Kingdom
Organized by the University of Cambridge Museums, this conference provided the first opportunity for the profession to gather, share papers and posters, and discuss volatile binding media (VBM), principally cyclododecane (CDD). Combining invited and submitted papers and posters, participants came from Europe, the United Kingdom, and the United States. Attendees were presented with critical reviews of use; current research; and case studies from a broad range of conservation disciplines. The conference began with an overview presented by the organizers, “Subliming surfaces: the first 20 years.” The program was then divided into sections.
Reviews of VBM’s in practice featured:

  • case studies of use (mainly CDD) in archaeological fieldwork;
  • the cleaning of fossil vertebrates;
  • wall painting and fresco conservation;
  • easel painting consolidation;
  • textiles, book and paper conservation;
  • archaeological ceramics desalination;
  • and the mounting of sensors in historic buildings.

VBM’s under scrutiny discussed:

  • chemical purity;
  • the sublimation rate and its relation to paper characteristics;
  • the consolidation of ceramics to be desalinated;
  • longterm use in archaeological contexts,
  • and as an enhancement for tetrahertz imaging of frescoes.

Many presentations raised questions of health, safety, and environmental concerns, and the talks presented in this well attended section generated much discussion. The speakers pointed out CDD’s low persistence in the environment, the difficulty of bioaccumulation sufficient to be a hazard, lack of mutagenic or eco-toxic effect, and lack of toxicity to humans. Nevertheless, the conservative nature of, well, conservators, caused many to remain concerned about possible risk, particularly due to fairly relaxed suggestions regarding personal protective equipment (PPE) and ventilation.
The poster presentation, containing many worthy presentations, was well attended. Highlights of the conference were its meticulous organization and the determination of the organizers, Christina Rozeik and Sophie Rowe, who made sure there were generous opportunities for questions and discussion between talks as well as extended conversations throughout the day, at meals and during breaks.
Standouts were guest lecturers Hans Hangleiter and Leonie Saltzmann, who presented “20 years of Volatile Binding Media.” Hangleiter was part of the original German group which first developed the use of volatile binding media in conservation in the early 1990s. They discussed these origins, less well-known alternatives to cyclododecane, and ingenious uses for these materials that they have developed in their conservation practice. The lecture was followed by a reception in the Fitzwilliam Museum and private view of the exhibition, Treasured Possessions from the Renaissance to the Enlightenment. The conference concluded on Friday with conservation lab tours and a half-day practical workshop on the use of cyclododecane and other VBM’s. The workshop was so well attended that an additional session was added to meet the demand. Participants had the opportunity to try cyclododecane with a variety of tools in a range of situations across conservation disciplines. Afterwards, experiences were shared at a cozy wrap-up session over tea. Altogether, this was one of the most practically useful and well-organized conferences I’ve attended. The collected postprints will be presented in an online publication, and should prove to be essential reading for conservators from many disciplines.
For addition information on CDD and Volatile Binding Media visit the AIC wiki page.

Job Posting: Photographic Materials Intern – Historical Society of Pennsylvania (Philadelphia, PA)

Employer: Historical Society of Pennsylvania
Location: Philadelphia, Pennsylvania
Position title: Photographic Materials Intern
Duration: 10 weeks during Summer or Fall 2016 (specific dates negotiable)
Hours: 40 hours per week (Monday-Friday)
Stipend: $6,000 (based on $15/hour), to be paid in two or three installments
Position Summary: The Historical Society of Pennsylvania (HSP) is one of the leading independent special collections libraries in the United States. HSP holds several hundred linear feet of photographic materials, including the oldest known photograph shot in North America. These holdings also include almost 100 linear feet of cellulose acetate and cellulose nitrate film (mostly negatives), much of which is significantly deteriorated and requires improved storage, digital reformatting, or proper disposal. All acetate and nitrate film in HSP’s holdings has previously been identified and its stage of deterioration has been assessed.
The Photographic Specialist, a member of the Library staff, will use this previously compiled data to determine appropriate next steps for the acetate and nitrate film and sort it accordingly. He or she will also plan for and possibly implement cold storage and appropriate disposal for specific materials where these measures are called for.
Responsibilities:
Primary

  • Identify film which should be immediately discarded
  • Identify film which should be digitized as soon as possible and then discarded
  • Identify film which should be digitized in the near future and advise about preservation of those images
  • Liaise with appropriate organizations to dispose of identified materials.
  • Research cold storage for identified materials.

Secondary

  • Rehouse some materials to new archival housing.
  • Record additional information about film items, pairing negatives and positives where possible.
  • Identify conservation issues and recommend follow-up tasks.
  • Other duties as assigned.

Qualifications:
This internship is open to current students in, and recent graduates from, master’s programs in photographic preservation or a closely related field. Candidates must be able to identify nitrate and cellulose negatives; have a good understanding of film deterioration and its symptoms; have strong organization, time management, and problem-solving skills; have the ability to work independently; be able to communicate effectively both orally and in writing; be authorized to work in the United States; be able to pass the background check; and be able to lift 40 pounds.
Preferred qualifications include: familiarity and experience with photograph processes from early 20th century; experience rehousing photographic negatives; experience working in an archives or special collections library; digitization experience; familiarity with Archivists’ Toolkit software and Adobe Creative Suite; and the ability to assess conservation needs for photographic materials.
To apply:
Submit a cover letter, resume, and contact information for three references by April 22, 2016 to:
Tara O’Brien
Director of Preservation and Conservation Services
Historical Society of Pennsylvania
1300 Locust Street
Philadelphia, PA 19144, USA
tobrien@hsp.org
215.732.6200 ext. 245

Job Posting: Post-Graduate fellowship in Objects Conservation – Winterthur Museum (Winterthur, DE)

Winterthur Museum

Post graduate fellowship in Objects Conservation

Fellowship description:

The Winterthur Museum, Garden & Library is pleased to announce the creation of a new annual post-graduate fellowship in conservation.  To ultimately be offered in a rotation through a variety of disciplines, the inaugural fellowship will be in objects conservation, to begin in the fall of 2016. The fellowship will be for the term of one year, with the potential of a one-year extension. Primarily supervised by Winterthur’s objects conservators, the fellow will also work with museum curators, registrars, the preventive team, and scientists to complete a project focused on the study, conservation, and preventive care of an important group of English and Dutch tin-glazed earthenware, or delftware, tiles dating primarily from the 17th and 18th centuries.
Based on archaeological evidence, many of these tiles parallel examples popular in colonial America. Although tin-glazed floor tiles were also used during the earliest period, the collection at Winterthur is restricted to fireplace tiles. The tiles are installed in the House Rooms or are unmounted. The chosen fellow will consult museum records to build upon known information about H.F. du Pont’s collecting of these items and his intended use for them in Winterthur’s House Rooms. Both mounted and unmounted tiles exhibit condition issues that will be assessed during the fellowship, and appropriate avenues of treatment, including installation methods, will be explored.
The fellowship is structured to provide an emerging conservator with the broad skills and hands-on experience needed for a successful career in conservation. In addition to the fellow’s collaborative work within the museum on the tile collection, the fellow is strongly encouraged to interact with Winterthur/University of Delaware Program in Art Conservation (WUDPAC) students, faculty, and guest speakers by attending lectures and selected classes that support their professional growth. The chosen fellow will have access to Winterthur’s Scientific Research and Analysis Laboratory, as well as the Winterthur and University of Delaware Libraries, and will assist in teaching a selected topic in the WUDPAC program. The fellow will also participate in outreach programs, as appropriate, including a monthly conservation clinic for the public, conservation tours for special interest groups and the public, and the creation of posts on the museum website.
The Winterthur Museum collections encompass a wide selection of fine and decorative arts made or used in America from the 17th through the mid-19th centuries, exhibited in house rooms, galleries and changing exhibits. The Library’s special collections extend from the mid-16th through mid-20th centuries and document American material culture through craftsmen’s records, technical manuals, trade catalogs, periodicals, design sources and literature on art, architecture, travel and domestic economy. The library also holds a significant collection of conservation literature.

Stipend

The stipend amount is $30,000 per year, plus benefits and $2000 for research and conference travel.

Eligibility

Requirements include completion of a masters-level degree in conservation from a recognized university program within the last three years. The successful candidate will exhibit a thorough understanding of objects conservation concepts and a strong interest in applying them in a complex institutional setting. The candidate should also exhibit foundation knowledge of conservation techniques and object fabrication technology and be able to apply this knowledge to the care, treatment and assessment of collection objects in their specialty.

Application

Candidate applications should be emailed to jobs@winterthur.org and include a curriculum vitae, a letter summarizing the applicant’s interests and intent in this fellowship, a transcript of graduate studies and a list of any other relevant course work, and contact information for three references. Application deadline: May 27, 2016.  Please submit all materials in English.  Please note: Finalists for the position will be asked at a later date to submit three sample reports (condition and treatment documentation, preventive conservation assessments, or research projects).

Fulbright U.S. Scholar Program – Opportunities in the Fine Arts

The Fulbright Scholar Program offers teaching, research or combination teaching and research awards in over 125 countries for the 2017-2018 academic year. Opportunities are available for college and university faculty, administrators as well as for professionals, artists, journalists, scientists, lawyers, independent scholars and many others.
This year, the Fulbright Scholar Program is offering over 65 awards in the field of Art, including all specializations: Architecture, Art History, Dance, Drama/Theater, Film Studies, Music, as well as the Visual and Performing Arts. Opportunities include:

For additional awards in the field of Art, please visit our discipline highlights webpage. There you will find award highlights and examples of successful projects in the Arts,as well as scholar testimonials which highlight the outcomes and benefits associated with completing a Fulbright Scholar grant.
For eligibility factors, detailed application guidelines and review criteria, please follow this link: http://cies.org/program/core-fulbright-us-scholar-program. You may also wish to register for one of our webinars or join our mailing list, My Fulbright, a resource for applicants interested in receiving program updates and application tips.  Applicants must be U.S. citizens and the current competition will close on August 1, 2016.
Please contact Beth Anderson at BAnderson@iie.org or reach any of our regional program staff for more information. We are happy to answer any questions you may have on applying.
The Fulbright Program, sponsored by the U.S. Department of State’s Bureau of Educational and Cultural Affairs, is the U.S. government’s flagship international exchange program and is supported by the people of the United States and partner countries around the world.

Job Posting: NEH Fellowship in Painting Conservation – The Chrysler Museum of Art (Norfolk, VA)

NEH Fellowship in Painting Conservation

The Chrysler Museum of Art

The Chrysler Museum of Art in Norfolk, Virginia http://www.chrysler.org is offering a one year fellowship in the conservation of paintings.
The Fellowship will focus on the study, examination and treatment of paintings. The successful candidate will gain experience working on a wide range of paintings from ancient to contemporary in the museum’s conservation laboratory. They will participate in all departmental activities including documentation, analysis and research on the Chrysler’s extensive collection. The conservation fellow will also be involved in planning installations, changing exhibitions, assessments and loans as well as interacting with the public through gallery talks and demonstrations.
Fellowship will be available beginning in the fall of 2016, and will include a $33,000 stipend plus benefits, including health insurance and up to $1500 travel allowance for research and conferences. The deadline for applications is May 1, 2016.
Eligibility: Candidates will be considered who are currently enrolled in or have recently graduated from a recognized conservation training program, or who have similar training or experience. The individual selected must be legally entitled to work in the United States. No visa assistance is available.
Interested candidates should submit their resume, two professional references as well as a cover letter. Finalists will be contacted and asked to submit examples from their portfolio of selected treatments. Send application materials to:
Mark Lewis
Chrysler Museum of Art
One Memorial Place
Norfolk, VA 23510
Fax: 757-664-6201

Job Posting: Conservator II, Paintings and Polychrome Sculptures – Parks Canada (Ottawa, Ontario)

Conservator II – Paintings and Polychrome Sculptures

Parks Canada – Collections, Curatorial and Conservation Branch Ottawa (Ontario)
GT-04
Indeterminate
$59,402 to $67,544 (Salary under review)
Reference number: CAP16J-014999-000079
Selection process number: 2016-02-CAP-OC-0248
For further information on the organization, please visit Parks Canada
Closing date: 25 April 2016 – 23:59, Pacific Time (more on closing date)
Who can apply: Persons residing in Canada and Canadian citizens residing abroad.

Apply online

Important messages
**We will only accept applications received via the Public Service Resourcing System (PSRS).**
Duties
Reporting to the Senior Conservator of Paintings and Polychrome Sculptures, you will work with a national team of cultural heritage professionals in Ottawa and across Canada, including Archaeologists, Curators, Historians, and Collections Management professionals, to ensure the long-term preservation of Parks Canada’s cultural resource collection.
You will actively collaborate with other heritage professionals in the conservation, exhibition and preservation of our historic and built heritage located in national historic sites and national parks across Canada. Your work will ensure that these collections are enjoyed by future generations to come.
Work environment
Parks Canada is a federal government agency responsible for the protection and presentation of Canada’s outstanding natural and cultural resources through a system of national parks, national marine conservation areas and national historic sites in all regions of Canada.
Intent of the process
This process will be used to create a list of qualified candidates to staff similar positions with various tenures, security levels or linguistic profiles in same or other parts of the country.
Persons with a lay-off priority due to Parks Canada Agency Work Force Adjustment will be considered eligible candidates for the purpose of this selection process.
Positions to be filled: 1
Full Listing:
English : https://emploisfp-psjobs.cfp-psc.gc.ca/psrs-srfp/applicant/page1800?poster=903292
French : https://emploisfp-psjobs.cfp-psc.gc.ca/psrs-srfp/applicant/page1800?poster=903292&toggleLanguage=fr

We might call them “happy accidents”

As the five year study and treatment of “St Michael”, the terracotta relief by Andrea della Robbia that fell off the wall of the Metropolitan Museum of Art in 2008 comes to an end, Randy Kennedy writes about the new insights into the working methods of the della Robbia factory that were gained during the period of study and treatment in the April 6, 2016 issue of The New York Times (“Master Class from a Broken Angel”). In the article, he also mentions the 2002 accident at the MET in which the sculpture of “Adam” by Tullio Lombardo fell off of its pedestal, an accident which led to a review and re-engineering of the MET’s mounting practices and many new insights into the creation of that sculpture. With so much discussion of the knowledge that was gained because of these disasters, if we were to be flippant, we might call them “happy accidents”.

Are these the works as the artists envisioned them?

According to an article in the March 28, 2016 issue of The Wall Street Journal (“Artist Skeptical Over Murals’ Fate”, by Peter Grant), Dorothea Rockburne is fighting the Chetrit Group which purchased the Sony Building in 2013 over its plans for the building’s lobby and her two floor to ceiling site specific frescoes painted there. The Chetrits have neither promised to preserve the murals in perpetuity nor agreed to give Rockburne final say over the new surroundings for the paintings (lighting, furnishings), so she is considering seeking a landmark designation for the lobby. Short of winning that status, does Rockburne have any means of ensuring that her works—which she feels encompass the environment around them– remain as she envisioned them?
According to an article in the April 5, 2016 issue of The New York Times (“Foundry is Closing; Degas Debate Goes On”, by William D. Cohan), although the Valsuani foundry which has cast Degas bronzes in recent decades has gone bankrupt and its assets are undergoing liquidation, the fight over whether castings from the foundry can be considered authentic works by Degas or reproductions will continue. Degas scholars have questioned whether the plasters used in the Valsuani castings were made during Degas’ lifetime or after his death. Since Degas allowed only one of his wax and clay figures to be cast in bronze during his lifetime, are any of the bronzes—even the early ones considered authentic by scholars—really the sculptures as Degas envisioned them?

Job Posting: Andrew W. Mellon Fellow for Advanced Training in Objects Conservation – Museum of Fine Arts (Boston, MA)

Andrew W. Mellon Fellow for Advanced Training in Objects Conservation
Museum of Fine Arts, Boston
The Museum of Fine Arts, Boston, is an encyclopedic collection comprising more than 450,000 objects. Founded in 1870, the Museum’s collections include ancient archaeological materials, American and European sculpture and decorative arts, African, Oceanic and Asian objects and sculpture, as well as contemporary works.
Conservation and Collections Management is an integral part of the Museum’s stated purpose to hold its collections in trust for future generations. Members of the department promote the long-term preservation of artworks through development of conservation treatments, study of materials and techniques, scholarly research and documentation. The department follows internationally established standards to document and maintain the aesthetic and physical integrity of works of art through six conservation disciplines, an analytical facility, and a collections management division responsible for safe exhibition, storage, transport, as well as the collections database.
Founded in 1929, the Objects Conservation Laboratory upholds a long and distinguished tradition of excellence in the examination, treatment, and preservation of cultural heritage, supported by a full range of scientific resources.
The Museum of Fine Arts, Boston seeks applicants for the Andrew W. Mellon Fellowship for Advanced Training in Objects Conservation. This full-time, two-year appointment begins in November 2016 and may be extended for a third year.
The Mellon Fellow will have the opportunity to engage in research, in-depth examination, and treatment of artworks, and be involved in preventive conservation activities, exhibitions and loans, as well as conservation outreach. Interdepartmental collaboration is encouraged between conservators, conservation scientists, collections care specialists, curators, and other Museum staff. The Fellow is expected to carry out a publishable research project.
Applicants must have a graduate degree in conservation from a recognized program or have equivalent work or apprenticeship experience, a minimum of one year of practical experience beyond graduation, and experience with a variety of analytical instruments.
Application materials must be received by April 30, 2016. For consideration, please submit your letter of interest, résumé, and two letters of recommendation to: resumes@mfa.org. You may also submit your materials via postal mail to: Human Resources Department, Museum of Fine Arts, Boston, 465 Huntington Avenue, Boston, MA 02115. Confirmation of receipt of complete applications will be sent via e-mail.
The Museum of Fine Arts, Boston is an Equal Opportunity Employer and seeks diversity in its workforce.