March 2018 – AIC Blog Archives: Conservators Converse

Collections Care Assistant (San Francisco, CA, USA)

*** APPLICATION DEADLINE HAS PASSED ***

PLEASE SUBMIT YOUR APPLICATION THROUGH: http://famsf.snaphire.com/jobdetails?ajid=6G9M7

The Fine Arts Museums of San Francisco are seeking a Collections Care Assistant to perform skilled work related to the conservation of works of art spanning a wide range of materials and cultures. The primary responsibility of this full-time position is the preventive care of artworks in the permanent collections of the Fine Arts Museums of San Francisco at both the deYoung Museum and the Legion of Honor. The Collections Care Assistant will also have duties related to temporary exhibitions and the lending of objects to other institutions.

Typical duties and responsibilities:

Assists conservators with monitoring and maintaining art work being displayed in the galleries.
Works with objects and textile conservators and technicians to prepare objects for storage, display, and travel. This may include assisting with written and photographic condition documentation.
Assists objects conservators in the regular maintenance and cleaning of outdoor sculptures
Performs pest control duties, including placement, documentation, and monitoring of traps, and preparing artworks for freezing and anoxic treatment.
With direction from Conservators, collects and tracks information on environmental conditions throughout the museums. Maintains monitoring equipment and instructions for use.
Works with conservators to calculate and provide conditioning materials for display cases.
Carries out testing (Oddy Tests) for materials to be considered in display cases or in direct contact with artworks, and provides results and information to conservators for interpretation.

Minimum qualifications:

Education, Training and Experience

High School Diploma; Bachelor’s Degree preferred.
Minimum of 2 years of museum or related experience working with art objects; or an equivalent combination of education, training and experience

Knowledge, Abilities and Skills

Ability to handle valuable objects, delicate instruments and hazardous materials with extreme care.
Basic knowledge of the equipment, materials and techniques used in the conservation and mounting of textiles, costumes and three-dimensional artworks.
Familiarity with or ability to acquire the knowledge and techniques used in preventive conservation
Computer literate, with an aptitude for learning new software programs. Familiarity with Microsoft Excel, Adobe Photoshop, Filemaker Pro, and collections management software preferred.
Ability to use hand tools and artist’s materials.
Excellent interpersonal and organizational skills
Willingness to work in a fast-paced, team-oriented environment
Must be able to lift and/or move up to 50 lbs and to work comfortably and safely on ladders or lift equipment.

Step 1 of the pay range is $20.75 per hour.

This Union position is full-time, and has a full benefits package including medical, dental, vision and generous vacation, sick, and holiday policy.

Application Deadline: April 6, 2018

MUST APPLY AT: http://famsf.snaphire.com/jobdetails?ajid=6G9M7.

The Fine Arts Museums of San Francisco, which comprises the de Young and Legion of Honor Museums, is experiencing an exciting renaissance with the arrival in 2016 of Director Max Hollein. As the largest public arts institution in San Francisco, the Museums welcome more than 1.5 million visitors annually, present an ambitious schedule of exhibitions and education programs throughout the year, house a world-class collection of 151,000 important artworks, and are supported by more than 100,000 members and donors. Under the leadership of Mr. Hollein, the staff is building on these successes to take the Museums to new heights with an exciting new array of innovative and groundbreaking projects.

COFAM is the Corporation of Fine Arts Museums and is the privately funded non-profit corporation which supports the Fine Arts Museums of San Francisco, a department of the City and County of San Francisco.

COFAM is proud to be an equal opportunity employer and is committed to a policy of nondiscrimination in all phases of employment in accordance with all federal, state, and local laws.

Grant opportunity: NEH Preservation and Access Education and Training Grant Program

Grant announcement
U.S. National Endowment for the Humanities’ Preservation and Access Education and Training Grant Program

Submission deadline
Tuesday, May 1, 2018

Grant information page
https://www.neh.gov/grants/preservation/preservation-and-access-education-and-training

Description of program
The Preservation and Access Education and Training program supports the development of knowledge and skills among professionals responsible for preserving and establishing access to humanities collections. Thousands of libraries, archives, museums, and historical organizations across the country maintain important collections of books and manuscripts, photographs, sound recordings and moving images, archaeological and ethnographic artifacts, art and material culture collections, electronic records, and digital objects. The challenge of preserving and making accessible such large and diverse holdings is enormous, and the need for knowledgeable staff is significant and ongoing.

Preservation and Access Education and Training grants are awarded to organizations that offer national or regional education and training programs that reach audiences in more than one state. Grants aim to help the staff of cultural institutions, large and small, obtain the knowledge and skills needed to serve as effective stewards of humanities collections. Grants also support educational programs that prepare the next generation of preservation professionals, as well as projects that introduce the staff of cultural institutions to new information and advances in preservation and access practices.

This year, we have a new special encouragement for applicants in federally declared disaster areas: Mindful of the importance of preserving cultural heritage in regions affected by Hurricanes Harvey, Irma, and Maria, as well as wildfires and mudslides in California, and recognizing the importance of planning, mitigation, and long-term recovery efforts, NEH encourages applications from-and projects that support-cultural institutions in federally designated disaster areas. Project activities can include training sessions related to recovery efforts, the development of regional mutual aid consortia, and workshops focused on emergency planning and response.

Eligibility
Any U.S. nonprofit organization with 501(c)(3) tax-exempt status is eligible (including institutions of higher education), as are state and local governmental agencies, and federally recognized Native American tribal governments. To be eligible to apply, applicants must offer national or regional education and training programs that reach audiences in more than one state.

Questions?
You may direct questions to Senior Program Officer Joshua Sternfeld. jsternfeld@neh.gov.

Archiving 2018: Digitization Preservation, and Access Conference

Archiving 2018: Digitization Preservation, and Access
April 17-20, 2018
National Archives, Washington, DC

The IS&T Archiving 2018 conference will explore the digitization, preservation, and access to 2D, 3D, and AV materials through a blend of short courses, invited focal papers, keynote talks, and peer-reviewed oral and interactive display presentations, behind-the-scenes tours – all to provide participants with a unique opportunity to gain and exchange knowledge and build networks among professionals.

Program topics: Spectral Imaging • Imaging Performance • Digital Archiving • RTI • 3D Photogrammetry • Quality Assurance Workflows • Color Measurement • Metadata and Workflows • Multispectral • Cultural Image Capture

Registration includes the technical program April 18-20 and the conference proceedings
Can’t attend the full week of #Archiving 2018? Select the day that best accommodates your interests.
Discounts for registering for 3+ Short Course
Group rates available for 5+ registrants from the same institution. Contact IS&T directly.
Early access to Behind-the-scenes tours. Details released first to participants registered by March 18
Not a member? Include IS&T membership (new or renewal) with your registration along with an online subscription to the Journal of Imaging Science and Technology (JIST) or Journal of Electronic Imaging (JEI) — all for the same price as the non-member registration rate.

Questions: registration@imaging.org

The paintings are not in as bad a condition as some have claimed

In the “Arts, Briefly” column of the March 27, 2018 issue of The New York Times, Jori Finkel wrote about the results of the nine year study conducted by the Getty Conservation Institute and the Egyptian Ministry of Antiquities which assessed the condition of the frescos in King Tutankhamen’s tomb (“Getty Completes Study at King Tut’s Tomb”). The good news is that the black spots which were believed to be live microorganisms are dead and “the paintings are not in as bad a condition as some have claimed”.

Centre for Research Collections Conservation Internship (Edinburgh, Scotland)

Centre for Research Collections Internship at the University of Edinburgh

The Centre for Research Collections (CRC) has developed a program of internships to teach and extend core skills in the archive, conservation and research disciplines.

A 6-week conservation internship is available with a stipend of GBP2,000 attached. This internship is designed for those who have recently completed (or are close to the completion of) a relevant professional qualification but are yet to gain paid or permanent employment in the sector. The internship will offer the successful candidate valuable work experience in their chosen career to enhance future employability. The intern will be well supported by CRC staff and offered extensive opportunities to develop their skills.

The intern will be based within the Centre of Research Collections, working on a collection of Session Papers from 1710-1850. These papers cover an extraordinary period in the nation’s history from the immediate aftermath of the Union of 1707 through the Jacobite wars, the Enlightenment, the agricultural and industrial revolutions and the building of Walter Scott’s Edinburgh.

Wider experience of working in the special collections and higher education sectors will also be offered.

To apply, provide the following:

your CV of no more than 2 sides of A4 (to include contact details, information on your qualifications and any previous voluntary or work experience, and contact details for two referees)

a supporting statement of 500 words detailing why you are interested in the internship and describing how participation in the program would benefit your future career

confirmation that you are eligible to work in the UK (a statement in either your CV, covering e-mail, or supporting statement will suffice at application stage)

Please note that applications without 1 – 3 above will not be considered.

Applications may be sent via email or post to Nicole Devereux (nicole.devereux@ed.ac.uk); Centre for Research Collections, Edinburgh University Library, 30 George Square, Edinburgh, EH8 9LJ).

Applicants will be shortlisted and selection will be based on a subsequent, informal, interview at the CRC. Please note that expenses to attend the informal interview will not be paid.

Closing date for applications: April 13, 2018
Informal interview date: April 27, 2018
Proposed start date: May 14, 2018

For further information, please contact Nicole on nicole.devereux@ed.ac.uk, or visit: https://www.ed.ac.uk/information-services/library-museum-gallery/crc/volunteers-interns.

Volunteers and Interns are an important part of the CRC and contribute a great deal towards our overall success.

Director of Book Conservation (Andover, MA, USA) – updated

The Northeast Document Conservation Center (NEDCC) is seeking an innovative and creative conservation professional to lead its nationally-recognized book conservation laboratory. The successful candidate will be joining the NEDCC Senior Management team and will benefit from working in a collaborative atmosphere with digital imaging specialists and conservators in other specialties. The book conservation laboratory contributes a significant amount to NEDCC’s fiscal health with work from a broad spectrum of cultural institutions and private clients. Volumes conserved at NEDCC are varied and may include rare books and pamphlets, bound manuscripts and prints, and scrapbooks and albums. The Center has treated some of the nation’s most significant volumes, such as William Bradford’s manuscript history of the Plymouth Plantation; Meriwether Lewis and William Clark’s journals of the Corps of Discovery Expedition; the original manuscript of the Book of Mormon; and Jacqueline Kennedy’s White House scrapbooks. See NEDCC Stories for other projects of note.

The Director of Book Conservation is responsible for: Cultivating prospective clients; building relationships and conferring with clients nationwide to develop appropriate treatment proposals; performing collections assessments; leading a staff of professional book conservators who perform consultations, treatments, and collections assessments; setting and monitoring standards for quality and productivity; working closely with NEDCC’s other department heads on joint projects; and presenting at national conferences. In addition, the role of the Director of Book Conservation as a member of NEDCC’s senior management team includes hiring, strategic planning, policy development, and other NEDCC-wide initiatives that have a broad impact on the preservation of cultural heritage collections nationwide.

Qualifications

detailed knowledge of and hands-on experience in book conservation
strong oral and written communication skills
excellent relationship-building skills
a solid educational and/or practical foundation in book conservation
commitment to both the highest quality conservation treatment results and the AIC Code of Ethics and Guidelines for Practice
leadership and management skills to support a high-quality, efficient and productive work environment

About NEDCC
Founded in 1973, NEDCC specializes in the conservation and digitization of paper-based materials and has recently expanded its services to include preservation of audio recordings. NEDCC’s mission is to improve the preservation efforts of libraries, archives, historical organizations, museums, and other repositories; to provide the highest quality conservation and reformatting services to collections-holding institutions; and to provide leadership in preservation, conservation, and digital reformatting. Its services include book, paper, and photograph conservation; digital reformatting (imaging and audio); assessments and consultations; disaster assistance; and workshops and conferences. NEDCC is located in Andover, MA, twenty-five miles north of Boston. For more information, please visit www.nedcc.org.

Application Process
NEDCC is an equal opportunity employer and all qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, disability status, protected veteran status, or any other characteristic protected by law. Salary and benefits are competitive. This position will remain open until filled. Feel free to direct any preliminary questions about the position to Bill Veillette. To apply, please send a cover letter and resume in a single PDF to Bill Veillette, Executive Director, bveillette@nedcc.org.

This job announcement has been updated on May 14, 2018.

Senior Scientist (Los Angeles, CA, USA)

The Getty Conservation Institute (GCI)—located at the Getty Center in Los Angeles, California, and the Getty Villa in Malibu, California—is one of the operating programs of the J. Paul Getty Trust, working internationally to advance conservation practice in the visual arts—broadly interpreted to include objects, collections, architecture, and sites. The GCI serves the conservation community through scientific research, education and training, field projects, and the dissemination of information. In all its endeavors, the GCI creates and delivers knowledge that contributes to the conservation of the world’s cultural heritage.

The GCI’s Science Department is seeking a Senior Scientist to join our Built Heritage Research Initiative (BHRI), to develop, manage, and implement scientific research in this area. BHRI focuses on the development and application of scientific research skills to improve conservation of the world’s built heritage from ancient to modern: including developing new techniques to evaluate built heritage environments and materials; holistic, multi-scale approaches to understanding durability and deterioration of built heritage materials; and the evaluation of novel conservation solutions. Current areas of focus include sandstone conservation, nature-based conservation and conservation of concrete.

Reporting to the Head of Science, the Senior Scientist will oversee and develop all the scientific projects within the GCI’s long-term BHRI. He/she must perform to the highest level in terms of scientific standards, research and analysis to promote advancement of conservation science in this area, including: developing and managing complex scientific projects, often collaborative projects with internal and external partners; supervising and managing a team of scientists, post docs and interns; establishing research priorities, monitoring progress, and managing work flow; deciding on the best methods of dissemination; and managing all project resources including budget and staffing.

The Senior Scientist must have a PhD in chemistry, materials science, geoscience or other natural science, and 10–15 years of scientific research experience preferably in a heritage conservation environment. A high level of experience with a range of analytical instrumentation applied to building materials is essential, including field-based NDT methods. A deep understanding of the conservation issues of built heritage is also required. The candidate must have a demonstrated record of managing large and complex scientific research projects, involving numerous research strands, and multiple partners. He/she must be adaptable, analytical, and a creative problem-solver and thinker; able to work effectively in a highly collaborative and variable environment; and possess excellent management, organization, communication, and writing skills.

An excellent benefits package and salary commensurate with experience will be provided.

To apply, please see: https://jobs-getty.icims.com/jobs/3136/senior-scientist%2c-built-heritage-research-initiative/job. Please prepare a cover letter and curriculum vitae in a single PDF file. Note: When prompted by the online application system to select or submit your “resume”, please upload your cover letter and curriculum vitae as a single PDF file.

Candidates who successfully complete the online application process will receive an automated message from “autoreply@icims.com”. If you have specific questions about the Senior Scientist position, please email gcistaffing@getty.edu. Deadline for applications is May 31, 2018.

Updated: March 14, 2018

Project Specialist (Los Angeles, CA, USA) – PASSED DEADLINE

The Getty Conservation Institute (GCI), located in Los Angeles, California, and one of the operating programs of the J. Paul Getty Trust, works internationally to advance conservation practice in the visual arts—broadly interpreted to include objects, collections, architecture, and sites. The Institute serves the conservation community through scientific research, education and training, field projects, and the dissemination of information. In all its endeavors, the GCI creates and delivers knowledge that contributes to the conservation of the world’s cultural heritage.

The Building and Sites Department of the Getty Conservation Institute is relaunching a search for a Project Specialist to work on the Conserving Modern Architecture Initiative (CMAI). Reporting to the Senior Project Specialist who manages the CMAI, the Project Specialist will manage the CMAI’s new education and training initiatives and engage in other CMAI field/research projects. This is a three-year, limited-term position, based in Los Angeles.

The CMAI’s goal is to advance the management, conservation, and recognition of the value of twentieth-century heritage through research, field projects, publications and training activities. This includes the development of training materials and techniques for physical conservation that increases the application of appropriate values-based conservation methodologies, leading to an expanded and strengthened community of practice. By developing and offering a variety of courses and training opportunities (of short and long duration) and offering other capacity building experiences, CMAI will reach target audiences at many different levels and in different regions of the world.

The Project Specialist will manage the development of modern conservation training courses, develop related didactic materials, and implement these courses. The position holder will also engage in other CMAI activities such as field/research projects. He/She will be responsible for: developing course budgets and schedules, selecting trainers and lecturers, preparing course material, and selecting participants. He/She will manage the day to day needs of the course to meet its educational goals; this will include working closely with participants, lecturers, and others involved in the delivery of the course. He/She will work with a broad range of conservation and heritage professionals in an international environment. The Project Specialist will develop a new course that is repeatable; and addresses the needs of audiences in different regions of the world.

Must have a Bachelor’s degree in architecture, architectural conservation, urban planning, or related discipline. Post-graduate degree in cultural-heritage conservation or the equivalent practical experience is also required. Must have a minimum of 5–7 years of practical work experience in the area of built heritage conservation and experience in teaching and/or designing educational and training courses. Interest and demonstrated experience in conserving twentieth-century heritage is also required.

The Project Specialist must be adaptable, analytical, a positive problem-solver, and a creative thinker. The position requires excellent oral and written communication skills and superior organizational and time management skills. Proficiency in English is required and proficiency in a language other than English is an advantage. The position involves international travel. This is a three-year, limited-term position.

To apply, please visit: https://jobs-getty.icims.com/jobs/3046/gci-project-specialist%2c-conserving-modern-architecture-initiative/job. Please prepare a cover letter and curriculum vitae in a single PDF file. Note: When prompted by the online application system to select or submit your “resume”, please upload your cover letter and curriculum vitae as a single PDF file.

Candidates who successfully complete the online application process will receive an automated message from “autoreply@icims.com”. If you have specific questions about the Project Specialist position, please email gcistaffing@getty.edu. The period to apply has been re-opened and applications will be accepted through April 20, 2018.

Rev. March 19, 2018

Associate Textile Conservator or Textile Conservator (St. Louis, MO, USA)

SAINT LOUIS ART MUSEUM

Grade K or M (exempt)
Reports to: Head of Conservation
Supervises: No one

Specifications: Degree from an accredited conservation program or its equivalent and 6 years conservation experience in textile conservation preferred. Compensation will be commensurate with experience and has a starting range in the low-$50,000s (associate), to mid-$60,000s (conservator) yearly with annual merit raises and comprehensive benefits including support for continuing education and conference attendance. Moving expense assistance is provided.

Job description: The Saint Louis Art Museum seeks a collegial, collaborative, and energetic textile conservator to join its active conservation team. SLAM is one of the nation’s leading comprehensive art museums with collections that include works of art of exceptional quality from virtually every culture and time period. A growing collection of over 3500 textiles date from Coptic to contemporary arts. Multiple curatorial departments including Decorative Arts, Asian arts, and Arts of Africa, Oceania and the Americas oversee the textile collection. The museum’s textile gallery hosts two exhibitions per year. As the museum’s textile conservator, the candidate will conduct conservation treatments, address display needs including mount systems, as well as storage requirements. The ideal candidate will have a broad and solid foundation in treatment techniques for a wide range of primarily flat textiles and be capable of collaborating with other conservation staff to solve unique preservation challenges. Knowledge of textile science, fabric structures, sewing construction and needlework techniques required. Experience with costume and historic upholstery conservation treatments are a plus. The candidate must be organized with excellent time and project management skills.

Duties, work performed:

Examine and assess physical condition of textiles including deterioration, damage, and potential complications involved in
Design and carry out conservation treatment in consultation with the
Design and construct mount systems for 2 & 3-dimensional
Provide written and photographic documentation to record condition of objects, treatments proposed, and treatments
Recommend other Conservators outside their field of expertise and review treatment
Examine textile works prior to acquisition to aid the Curatorial staff in determining physical and aesthetic condition, as well as authenticity of
Examine works requested for loan to document their condition and to determine suitability for travel and, and advise the Registrar and others on any special packing and shipping
Provide guidance to the Collections Care Technician on the maintenance of textiles on display in the
Advise the Registrar, Curators, and other museum staff members on the handling, installation, storage, and maintenance of works in the
Administer the workflow and assist in preparing, monitoring and controlling the budget of the Textile Conservation Lab.
Recommend acquisition of new
Monitor and order conservation

The above statements of this job description describe the general duties and level of work performed by employees assigned to this position. They do not claim to describe all of the functions of this position. Employees may be assigned other duties and the essential functions may change or be changed from time to time.

Applicants should apply through the Museum’s website www.slam.org. Additional questions regarding the position or the collection should be directed to the Head of Conservation – hugh.shockey@slam.org.

The Museum is an Equal Opportunity Employer. We are committed to treating all applicants and employees fairly base on their abilities, achievements, and experience, without regard to sex, race, age, disability, religion, national origin, color, sexual orientation, gender identity, or any other classification protected by law.

The London Gels in Conservation Conference: Alina Moskalik-Detalle, “Conservation of murals by Eugene Delacroix at Saint Sulpice, Paris”

Gels In Conservation

This blog post is part of a series of observations about the London “Gels in Conservation” conference co-hosted by the Tate and IAP (International Academic Projects, Ltd). In mid-October, over the course of three days, some 41 authors presented research, techniques and ideas on gels in conservation. The talks were excellent, and I’ve focused on four that were notable for the wide range of materials treated and challenges faced. They ranged from coating/grime removal from a giant sequoia tree cross section, to dirt and varnish removal from Delacroix wall paintings, to removal of repairs from a fragile felt hat from a 18^th century ship wreck, and an experiment comparing residues left behind by various gels on paper.

2.Alina Moskalik-Detalle talking describing coating removal — 2. Alina Moskalik-Detalle talking describing coating removal

In the second of four talks, Alina Moskalik-Detalle presented “Conservation of murals by Eugene Delacroix at Saint Sulpice, Paris.” The talk was interesting for its scale and challenges. Because I’ve gone to see these murals many times over the years, the talk was also personally interesting. Each time I visited, I left somewhat disappointed by the darkened, flat, dull murals. As luck would have it, I was scheduled to travel to Paris a week after attending the gels conference. What I saw when I visited Ste. Sulpice was truly remarkable—color, depth, and drama. The cleaning had totally transformed these murals. Naturally, I couldn’t help myself, I actively looked for shiny patches—the results from this treatment were remarkable. This multi-year project involved numerous conservators including collaboration with Richard Wolbers. Some of the treatment challenges included flaking paint, complex paint layers, multiple restorations, rising damp in the walls, carbon based grime, and, if that wasn’t enough, the paint was very sensitive to organic solvents. The conservators wanted to limit penetration of their solvent gels without leaving a residue or tide line behind. They wanted good contact between the gels and the substrate, control of the action of water, and to create mixtures of solvents that would clean effectively without damaging the paint layers. After cleaning tests were performed, a treatment protocol emerged: by pre-saturation of the areas being treated with cyclomethicone followed by the application of silicone solvents gels to the mural’s surfaces, tide lines were avoided, grime could be removed, the gels could be cleared, and residue was limited. The D4 was a slow evaporator which allowed about a 30 minute working time for the application of the gel and subsequent grime removal without harming the paint layer.

during treatment, Delacroix mural detail — 3. Delacroix mural detail, during treatment

The gels were made and applied in a paste-like consistency for maximum control of where the material was placed. It clung to the vertical walls and horizontal ceiling long enough to be effective. Using D4 based emulsions to clean the mural’s paint surfaces allowed the removal of surface soil without stripping wax or oily components from the paint films themselves. Because the emulsions were surfactant free, it was easier to clear them from the treated surfaces. Analysis of samples didn’t show residue left behind on the surface, but when the conservators tried to consolidate flaking areas of paint, they had trouble with adhesion, it is unclear why. It will be interesting to see how these murals age over time and if further treatment is needed in future, how re-treatable it is.

St. Sulpice chapel after conservation treatment — 4. Author pictured in Delacroix chapel after treatment was completed.

This blog series is a result of receiving the FAIC Carolyn Horton grant to help me attend the conference. I would like to gratefully acknowledge the FAIC for helping make it possible for me to attend this important conference.