“Blog 2: The London Gels in Conservation Conference, October 16-18, 2017, Richard Wolbers and Paolo Cremonesi” by Jodie Utter

Gels In Conservation
Gels In Conservation

This blog post is the 2nd in a collection 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 first presentations of the first day kicked off the conference, setting the tone with intriguing philosophical, as well as practical hands-on examples of gels in conservation.  The two leading conservation scientists in the field of gels, Richard Wolbers and Paolo Cremonesi, each provided an introduction to gels in conservation, what has been done historically, what is currently practiced, and thoughts for the future.  Wolbers not only delivered the key note presentation, but spoke several times as collaborator for many of the talks and as a moderator.  In his keynote address, Wolbers emphasized minimizing toxicity through substitution of less toxic materials and Cremonesi discussed the characteristics of agar gels and the current work being done with thermo-reversible rigid agar hydrogels.

Bottom line, it seems that the basic goal for many of the case studies that were presented is to find a way to safely use aqueous cleaning systems on water-sensitive materials without damaging the object.  A tall order.

Richard Wolbers, keynote presentation, “Gels, Green Chemistry, Gurus and Guides”
Richard Wolbers, keynote presentation, “Gels, Green Chemistry, Gurus and Guides”

Wolbers’ talk, “Gels, Green Chemistry, Gurus and Guides”, it provided an overview of gels in conservation, as well as a look towards the future, emphasized the goal of using Green chemistry, which involves less waste and is less toxic – something he has been advocating for years (here is the link to his talk: https://www.youtube.com/watch?v=RGpOYaU6owE).

Wolbers said, when confronted with a treatment problem, first determine if a gel is appropriate.  Gels keep the gel and its contents in contact longer with the surface; gels make local application controllable or they can serve as a poultice.  Naturally, the gel used shouldn’t impact the surface medium, and it should be non-toxic and clean the object.  Wolbers listed some of the advantages of solid rigid agar gels: they dissolve in water, improve surface wettability, and have surfactant properties.

Ultimately, to do the best by our objects, we as a field need to continually look to other industries for ideas.  For example, the cosmetic industry utilizes green chemistry to reduce exposure to potentially harmful solvents.  We need to truly understand what we want to achieve in a particular circumstance and tailor it to our object, rather than relying on a few stock recipes and applying them to all situations.  As conservators we must remain agile and stay creative.  To do this we must understand the underlying principles of the materials we want to use and the objects we are treating.  Conservation needs to be able to gain ideas and experience from other fields, and also be able to create and engineer our own materials to give us the type of control we need.

Paolo Cremonesi, “Thermo-reversible rigid agar hydrogels: their properties and action in cleaning”
Paolo Cremonesi, “Thermo-reversible rigid agar hydrogels: their properties and action in cleaning”

In Cremonesi’s talk, “Thermo-reversible rigid agar hydrogels: their properties and action in cleaning”, (here is the link to Cremonesi’s talk, https://www.youtube.com/watch?time_continue=10&v=UbbxCQR4El8) he listed the advantages of agar gels: how they dissolve in water, and improve surface wettability. They have limited adhesion to the surface and, most importantly, leave behind minimal residue (as compared to gellan gum. (See M. Sullivan’s paper “Rigid polysaccharide gels for paper conservation: a residue study”).  Past drawbacks of agar gels had been that they could only be applied to relatively flat surfaces. However, if the liquid gel is applied (brushed or poured on) just at the moment it starts to thicken, it can be used on a variety of surfaces, planar or not.

(here is the link to his talk: http://academicprojects.co.uk/gels-conference/gels-conference-presentations/)

Thermo-reversible gels are often prepared in the microwave to prepare a homogeneous gel. When heated above 80F (Cremonesi recommended type E for its low gelling temperature) the gel is liquid and when cooled below 80F it is a solid.  With increased concentration, the gel becomes stiffer which will slow the release of water from the gel.  While in the liquid form it can be poured into receptacles such as a syringe body. Allowed to cool, once solid it can be kept in a “pencil” shape (this slide caused many audience members to swoon) or be cut into small plugs.

slide from Cremonesi's presentation, grating agar plugs
slide from Cremonesi’s presentation, grating agar plugs

At room temperature it can also be grated, with the shaving manipulated for surface cleaning.  Enzymes mixed with Agar in a semi-solid state are the most effective form of the material. That said, Cremonesi said gellan gum is more appropriate for works on paper because it’s more flexible and transparent than agar.

One thing I’ve found with using gels (in my case gellan gum) is the formation of tide lines, which made me assume we were doing something wrong.  According to both Wolbers and Cremonesi, I was missing a step. They talked about the importance of pre-wetting the surface to be treated with a non-polar solvent (they specifically mentioned D5, aka decamethylcyclopentasiloxane aka cyclomethicone).  At first this might seem counter-intuitive: how does water work if there’s non-polar solvent in the way? Actually it’s about displacement – oil floats on water – so the water in the gel displaces the non-polar solvent to get to the surface.  The non-polar solvent prevents tidelines principally by blocking capillarity. Now it’s all starting to make sense. The same principle was used by Burgio, Rivers et al (2008, Studies in Conservation) when consolidating matte paint. On this basis, any non-polar solvent (first spot tested) should work to prevent tidelines. D5 has the advantage of being a ‘green’ solvent, comes without the H&S hazards associated with hydrocarbon non-polar solvents, and is exceptionally non-polar.

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.

The London Gels in Conservation Conference October 16-18, 2017, “An Introduction” by Jodie Utter

Gels In Conservation
Gels In Conservation

A couple of months have passed since I attended the London three-day conference “Gels in Conservation” co-hosted by the Tate and IAP (International Academic Projects, Ltd), better known as James (Jim) Black.  You will know him from Archetype Publications; he’s the one who always remembers you.

Gels conference audience
Gels conference audience

The conference was the brainchild of Jim Black and Richard Wolbers, hatched over drinks and Indian food a few years back.  They posed the idea, “wouldn’t it be great if we got all the people together working in gels? Scientists, conservators, students, etc., and shared what we know, or were working on in gels?” Apparently they were right, they weren’t they only ones who thought it was a great idea. More than 550 attendees from 39 countries attended the three-day conference.  For me, and judging from fellow attendee’s responses, I can tell you it sure felt like a roaring success.

It was one of the most thoughtfully arranged symposiums I’ve ever attended.  I suspect Jim Black may well be a genius and I hope other program organizers take note. There were three sessions each day, and each session started off with two or three talks about 25 or 30 minutes in length followed by several 10-minute talks. It kept things fresh and helped avoid listening fatigue.  For the most part the 10-minute talks were just as informative as the longer format.  At the end of each session the presenters had a panel Q&A with the audience.  This gave people a chance to clarify and presenters an opportunity to add detail.

The conference was filmed/recorded, so take heart even if you didn’t get one of the sought-after tickets: you can still virtually attend, albeit slightly after the fact.  Having the publication at the conference was brilliant.  I can’t emphasize enough how excellent the publication is. It includes the papers from the presentations and the posters with great images.  It was very helpful to listen to a talk then be able to refer to the paper immediately.  Over the course of three days, some 41 authors presented research, techniques and ideas.  Each day the talks were grouped together loosely by theme such as polysaccharide gel systems, which included agars, gellan gum and methyl cellulose, often compared or alone, sometimes with additives like enzymes or chelators.  Day two, polysaccharide and polyacrylic gel systems, which included solvent gels, such as pemulen, and the new wave of solvents, silicone solvents.  And finally, day three was entitled Novel and Multi gel treatment.  Many speakers talked about trying to utilize less toxic materials as an alternative to “traditional” organic and aromatic solvents, moving toward greener alternatives.  Authors shared their successes and failures, both being very informative.  Many attendees, me included remarked that they really enjoyed the multi-discipline approach, learning what textile conservators and easel painting conservators are doing with the same sort of materials.  It was very inspiring and informative.

The overall tone of the conference was one of hopeful optimism and desire for more research and development.  Richard Wolbers spoke several times, first as the key note speaker and later as collaborator for many of the authors. He emphasized the need for conservators to look to other industries for potential products, greener or less toxic than what we use now, and to know the materials well enough to tailor them to our own specific needs for each specific treatment challenge.  I came away inspired and intrigued.  I have written companion blogs to this one and they will be posted in rapid succession.  I hope I can convey some of what I learned and inspire you to obtain the publication and start reading.   I will end with my favorite slide of the conference.

Your Plan vs. Reality.
Your Plan vs. Reality.

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.

Paintings Conservator (Minneapolis, MN, USA) – POSITION FILLED

*** APPLICATION DEADLINE HAS PASSED – PLEASE DO NOT APPLY FOR THIS POSITION ***

The Midwest Art Conservation Center is seeking an experienced paintings conservator. This is a full-time position with occasional travel. Applicants must have an advanced degree in art conservation with a specialization in paintings conservation. A minimum of five years post graduate experience is preferred. The position title and responsibilities will be commensurate with experience. The position calls for treatments on paintings from all periods, including contemporary works and murals. MACC provides excellent salaries along with outstanding benefits including medical, dental, 403b contributions, vacations, AIC membership, and professional development.

MACC is an independent, nonprofit, regional center providing comprehensive conservation services in Paintings, Objects, Paper and Textiles. The staff is collaborative, very collegial and works innovatively with the curatorial and collection professionals of hundreds of Midwest institutions including the largest art museums, historical societies, universities, libraries and archives, as well as small and mid-sized institutions with unique and varied collections. MACC laboratories are located within the Minneapolis Institute of Art.

Please send your confidential cover letter, curriculum vitae, and three references to: cturner@preserveart.org.

Colin D. Turner
Executive Director
Midwest Art Conservation Center
2400 – 3rd Avenue South
Minneapolis, MN 55404
Tel: (612) 870-3148

Applications received by May 15 will receive priority review.

Job Announcement: Integrated Pest Management (IPM) Program Administrator position at The MET

THE METROPOLITAN MUSEUM OF ART
Position Profile

Position Title: IPM Program Administrator
Department: Executive Offices
Reports to: Executive Offices
Salary Grade: M4
Employee Classification: Non-Union Exempt Full time
Effective Date: March xx, 2018
End date: Permanent

Applicants should be able to see and apply for this position soon on the Met’s Linkedin page, https://www.linkedin.com/company/the-metropolitan-museum-of-art/life/

Alternatively, applicants can send a cover letter and resume to careers@metmuseum.org as Word attachments and use the following format in the subject line: position title – your name.

GENERAL STATEMENT OF RESPONSIBILITIES & DUTIES:

The Integrated Pest Management (IPM) Program Administrator will oversee the creation and management of an IPM program  across the  institution.  Reporting  to the Executive Offices,  the position  works in close collaboration with the IPM-Working Group and Buildings Management to establish and uphold comprehensive and unified best practice procedures and policies for pest management and prevention. The position also offers overarching support for collections  management across the institution. The successful candidate will have experience implementing and administering  an IPM program, preferably across a large and complex organization.

PRIMARY RESPONSIBILITIES & DUTIES:

  • Establishes and manages a comprehensive Integrated  Pest Management (IPM) program for the
  • Drafts IPM policy and procedure documents outlining:
    • Building-wide monitoring, identification, reporting, and treatment processes
    • Departmental monitoring and documentation
    • Best practices for prevention and exclusion – building infrastructure and housekeeping
    • Quarantine systems for objects entering and exiting the museum
    • Pest identification documents
    • Equipment care and handling for quarantine and anoxic treatments
  • Researches and establishes building-wide pest monitoring software with updated maps
  • Coordinates and implements IPM response action plans across the institution
  • Leads general training on IPM best practices for all staff, including new hires
  • Leads targeted training for collections care staff and the IPM-Action and IPM-Response teams, including:
    • Annual training on pest identification
    • Annual workshops on key aspects of IPM monitoring, prevention and remediation
  • Partners with Custodial Services and The Met’s commercial pest management contractors to incorporate IPM best practices
  • Advises and consults on IPM efforts related to The Met’s food service operation
  • Advises and consults on IPM requirements for all permanent exhibition and infrastructure modifications
  • Maintains an IPM intranet site
  • Creates and maintains pest collection sites
  •  Continuing education:
    • Represents the Met at MuseumPest/IPM-WG conferences
    • Initiates research requests to the Department of Scientific Research (DSR) and/or invites external speakers to understand the effect of pesticides on art objects
    • Initiates research requests to DSR and/or  invites  external speakers to understand the range of art materials that are safe to freeze
  • Drafts reports as needed on topics above
  • Other related duties and special projects

REQUIREMENTS & QUALIFICATIONS:

Experience and Skills:

  • At least  3 years  of experience  in    implementing  and administering  an IPM program  across an organization
  • Ability to lead teams and work collaboratively with staff across the museum at all levels
  • Thorough  knowledge of pest monitoring software (knowledge of buildings management software preferred)
  •  IPM certification preferred
  •  Proficient in Microsoft Suite (Word, Excel, Outlook, and PowerPoint)
  •  Experience working with museum cataloguing systems with a strong preference for experience with The Museum System (TMS)
  • Strong interpersonal, communication and trafficking/project coordination skills
  • Excellent organizational and analytical skills

Knowledge and Education:

  • Extensive experience in pest management at a cultural, academic, or similar institution preferred
  • Master’s degree preferred but not required

The Metropolitan Museum of Art provides equal opportunity to all employees and applicants for employment without regard to race, color, religion, creed, sex, sexual orientation, national origin, ancestry, age, mental or physical disability, pregnancy, alienage or citizenship status, marital status or domestic partner status, genetic information, genetic predisposition or carrier status, gender identity, HIV status, military status and any other category protected by law in all employment decisions, including but not limited to recruitment, hiring, compensation, training and apprenticeship, promotion, upgrading, demotion, downgrading, transfer, lay-off and termination, and all other terms and
conditions of employment.