Inaugural FAIC/Tru Vue® International Professional Development Scholarships Awarded by the Foundation of the American Institute for Conservation

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Contact: Eric Pourchot
Phone: (202) 661-8061

Inaugural FAIC/Tru Vue® International Professional Development Scholarships
Awarded by the
Foundation of the 
American Institute for Conservation

WASHINGTON, D.C. — The Foundation of the American Institute for Conservation of Historic and Artistic Works (FAIC) announces two inaugural scholarships made possible by generous funding from Tru Vue® Inc. The FAIC/Tru Vue® International Professional Development Scholarships were created to help individual members of AIC defray costs for attending international professional development events, such as workshops, conferences, and symposia. Key criteria of the award include demonstration of the learning that would occur, its applicability to individual’s professional development goals, and dissemination of that learning to others.
Monetary awards were made to Stephanie Auffret, Associate Furniture Conservator at the Winterthur Museum, Garden & Library and to Ingrid Neuman, Museum Conservator at the Rhode Island School of Design Museum of Art.
Dr. Auffret will use this funding to attend the Stichting Ebenist 12th International Symposium on Wood and Furniture Conservation, to be held in Amsterdam, November 14-15, 2014 where she will be presenting a paper entitled “Seeing more clearly through opaque surfaces: a review of furniture finishes materials, their use and ethical considerations related to their preservation”.  Information will be disseminated in many ways as this conference will be the first time that Auffret will be able to publish her research on transparent coatings applied to furniture in English, making it available to a wide range of readers. Additionally, Auffret will share information gained through presentations to colleagues and Winterthur/University of Delaware Program in Art Conservation students.
The scholarship will supported Ingrid Neuman’s attendance of the masterclass, “Plastics: Identification, Degradation and Conservation of Plastics” from October 13-17 at the University of Amsterdam. This course, taught by two pre-eminent conservators well known in the emerging field of plastics in art conservation, included information about 3-D rapid prototyping, the manufacturing and conservation of bio-plastics, including green and biodegradable plastics, the consolidation of polyurethane foam, 3-D scanning and mold-making of plastics, as well as the latest technology and chemistry of cleaning and re-adhering plastics. From this course, Neuman will learn information that is crucial to her understanding as RISD’s as only sculpture conservator which she will also share with undergraduate and graduate students of the program.
“We are pleased to be partnering with the FAIC to offer these scholarships to professionals and students who might not otherwise have the opportunity to attend, and contribute towards their professional development goals,” said Patti Dumbaugh, Vice President for Tru Vue, Inc. “Our goals for the program include encouraging international exchange and dissemination of training and conference information. We look forward to their report out and sharing of key learning points, and hope conservators with a thirst to learn from all over the world will take advantage of this program and the knowledge it can bring to their communities.”
A companion FAIC/Tru Vue scholarship to assist with international travel to the AIC Annual Meeting will also begin soon. Priority will be given to individuals who have not previously attended an AIC Annual Meeting, and dissemination of the knowledge gained by attending will be required. AIC membership is not required. The maximum award is $1,500. The deadline for receipt of materials is February 15 of each year.
Guidelines and applications for both the FAIC/Tru Vue International Professional Development Scholarships and the FAIC/Tru Vue AIC Annual Meeting International Scholarships will be available soon on the AIC/FAIC website at

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About FAIC
FAIC, the Foundation of the American Institute for Conservation of Historic & Artistic Works, supports conservation education, research, and outreach activities that increase understanding of our global cultural heritage. Learn more about FAIC at
About Tru Vue
Tru Vue is a manufacturer of high performance glazing products for the custom picture frame and museum markets and corporate supporter of the arts, partnering with art organizations worldwide.  Tru Vue is a leader in both UV protection, as well as anti-reflective and specialty glazing products for these markets.  The company is located in McCook, Illinois and Faribault, Minnesota and is a subsidiary of Apogee Enterprises, which is traded under “apog” on the NASDAQ.  For more information on Tru Vue, visit the company website at
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CALL EXTENDED – Interventions, Object Lesson: Conservation and Art History

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Call Extended – Submissions due October 24, 2014
Interventions Volume 4, Issue 1
Object Lesson: Conservation and Art History
Interventions is the online journal of Columbia University’s graduate program in Modern Art: Critical and Curatorial Studies. We are seeking content for our next issue, focusing on relationships between art conservation and art historical, curatorial, and artistic practices.
Submissions can be in the form of artist projects or essays. Potential topics include (but are not limited to):
• Works that are open-ended, unfinished, in process, or require replenishment
– Use of organic materials
– Web-based works of art
• Works that are no longer extant
– Installations dismantled and/or dispersed into fragments
– Performances, actions, and events
• Works recycled or re-purposed into new works of art
• Use of untested or volatile materials and processes
• Exhibiting “relics,” ephemera, or documentation in lieu of works of art
• Exhibiting copies, replicas, or facsimiles
• Works of art that thematize physical/material change
• Conservation of time-based media
– Discontinued technologies needed to display or play back encoded media
• Architectural preservation
• Technical art history
• Collaborations between conservators and artists
• Collaborations between conservators and curators
We encourage submissions that approach this topic across artistic, critical, and curatorial frameworks. For this issue, we specifically invite submissions from conservators of modern and contemporary art and architecture.
To submit content, please email an abstract of approximately 300 words, as well as a bio of no more than 100 words, to by Friday, October 24, 2014. Submissions will be reviewed and those whose proposals have been selected will be notified by October 31, 2014. Full texts must not exceed 4,000 words and should follow Chicago Style. Images should be 400 x 600 pixels, 72 dpi, and saved as a .jpg or .gif. Contributors are responsible for copyediting their texts prior to final submission and for attaining rights to all images provided for publication.
Interventions Journal is a curatorial platform featuring essays, interviews, web-based art projects, and experimental investigations of the implicit cross-sections between these practices. Flexible in format, the project aims to cultivate dialogue amongst a diverse body of participants including curators, artists, and art and architectural historians in order to establish a common space and archive of exchange.
Launched in 2011 within Columbia University’s graduate program in Modern Art: Critical & Curatorial Studies (MODA) by Ceren Erdem, Jaime Schwartz, and Lisa Hayes Williams, Interventions is currently edited by Béatrice Grenier, Anna Linehan, and Amber Moyles.

North Carolina Preservation Consortium Annual Conference, "Significant Preservation: Inventories and Assessments for Strategic Planning"

“Significant Preservation: Inventories and Assessments for Strategic Planning”
North Carolina Preservation Consortium Annual Conference
William and Ida Friday Center for Continuing Education
University of North Carolina at Chapel Hill
November 7, 2014

Inventories and assessments of heritage collections and sites are vital for meaningful strategic planning that conveys the importance of allocating scarce resources for preservation programs. Establishing the significance of tangible heritage to the communities we serve is essential for prioritizing conservation, storage, exhibition, and emergency planning decisions to protect cultural treasures for present and future generations. This conference will help you influence organizational, political, and community leaders who have the authority to improve preservation funding. Register today for a valuable learning experience with state, national, and international preservation leaders.
Keynote Speakers
Veronica Bullock is the Co-founder and Director of Significance International. She holds a bachelor’s degree in Prehistory/Archaeology from the Australian National University and a master’s degree in Applied Science (Materials Conservation) from the University of Western Sydney. Her fellowship at the International Center for the Study of the Preservation and Restoration of Cultural Property explored how significance assessments and risk assessments are taught in graduate conservation programs in Australia, Canada, the United States, and several countries in Europe. Ms. Bullock will provide an overview of the Significance Assessment methodology developed by the Collections Council of Australia.
Lisa Ackerman is the Executive Vice President and Chief Operating Officer of the World Monuments Fund and a Visiting Assistant Professor at the Pratt Institute. She holds a BA from Middlebury College, an MS in historic preservation from the Pratt Institute, and an MBA from New York University. Her professional service has included membership on the boards of the Historic House Trust of New York City, New York Preservation Archive Project, St. Ann Center for Restoration and the Arts, Partners for Sacred Places, Neighborhood Preservation Center, and the U.S. National Committee of the International Council on Monuments and Sites. Ms. Ackerman will present an introduction to the Arches heritage inventory and management system.
Dr. Paul R. Green is a Cultural Resources Specialist for the U.S. Air Force Civil Engineer Center, an Adjunct Associate Professor at Old Dominion University, and a modern Monuments Man. He holds a BS from Marshall University, MA from the University of Missouri-Columbia, and a PhD in Anthropology (Archaeology) from the University of North Carolina at Chapel Hill. Dr. Green is a member of the U.S. Central Command (CENTCOM) Historical/Cultural Advisory Group and the International Military Cultural Resources Working Group. He will address the challenges and importance of prioritizing global heritage collections and sites for the protection of cultural property during war and armed conflicts.
Lightening Session Speakers
Martha Battle Jackson is Chief Curator for North Carolina Historic Sites. She will provide an overview of the Museum Assessment Program (MAP) for Collection Stewardship sponsored by the American Alliance of Museums.
Andrea Gabriel is Outreach & Development Coordinator for the North Carolina State Archives. She will present an introduction to the Traveling Archivist Program (TAP) administered by the North Carolina Office of Archives & History.
David Goist is a painting conservator in private practice. He will give an overview of the Conservation Assessment Program (CAP) sponsored by Heritage Preservation.
8:00 Continental Breakfast
8:30 Registration
9:00 Welcome
9:15 Significance Assessments
10:10 Morning Break
10:30 Arches Heritage Inventory & Management System
11:25 Round Table Discussions
12:00 Lunch
1:00 MAP, TAP, & CAP
1:55 Afternoon Break
2:15 Protecting Cultural Property
3:10 Round Table Discussions
3:30 Final Q & A
4:00 Closing
The NCPC annual conference is an excellent opportunity to meet collections professionals from a wide range of disciplines and organizations. Take advantage of morning and afternoon refreshment breaks, our communal lunch, and round table discussions to meet new colleagues and visit with old friends. Share your valuable experience and learn from others.
Conference Audience
This conference is designed for professionals, staff, and volunteers working in museums, libraries, historic sites, archives, conservation centers, archaeological collections, and other preservation institutions; advocates for preservation on friends boards, advancement councils, and advisory committees; those working in organizations with a preservation mission; members of the preservation industry; and faculty and students in conservation, museum studies, public history, archaeology, archives, library science, and other preservation disciplines.
NCPC is committed to keeping registration fees extraordinarily affordable to encourage attendance. Early Bird fees for registrations received before October 1st is $50 for NCPC members and $75 for non-members. After October 1st registration is $60 for NCPC members and $85 for non-members. Registration on-site is $70 for NCPC members and $95 for nonmembers. Those who register on-site are not guaranteed lunch. The registration fee for graduate students is $40 for early bird, $50 after October 1st and $60 on-site. Please register via the NCPC web site.
We value the involvement of students, working professionals, and volunteers whose institutional support is insufficient to attend this conference. NCPC offers a limited number of conference scholarships. This scholarship covers full registration. It does not cover travel, lodging, or other expenses. The application process is simple and consists primarily of telling us why attendance is important for you. The scholarship is intended to promote continuing preservation education and professional networking. Applicants must be employed by or volunteer at a North Carolina institution with a preservation mission that has little or no funding for professional development or a graduate student enrolled in a preservation related discipline at a college or university in North Carolina. To apply, please complete the scholarship form on the NCPC web site by October 1st. Early registration fees will be honored for any applicants who are not granted a scholarship.
The conference will be held at the William and Ida Friday Center for Continuing Education at the University of North Carolina at Chapel Hill.

Grant Deadline for NEH’s Sustaining Cultural Heritage Collections

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NEH’s Sustaining Cultural Heritage Collections grants encourage sustainable approaches to preserving humanities collections
Grant deadline: December 3, 2014
The National Endowment for the Humanities invites applications from nonprofit museums, libraries, archives, and educational institutions in the United States to the Sustaining Cultural Heritage Collections program. This grant program supports planning and implementation of sustainable preventive conservation projects that pragmatically balance preservation goals, cost, and environmental impact. All projects should be designed to be as cost effective, energy efficient, and environmentally sensitive as possible.
To identify and achieve sustainable preservation strategies, it is important to define preservation requirements based on an understanding of your collections, their conditions, and the risks they face, rather than relying on ideal and prescriptive targets. Your local climate, the characteristics and performance of your building and its systems, the potential effects of climate change on cultural property, and institutional capacities must also be considered. It is advisable to look first for passive (that is, nonmechanical) ways to improve collection environments and to design mechanical systems, whenever possible, after investigating and implementing passive approaches for achieving and managing desired conditions. It is also important to evaluate and measure the effectiveness of a project’s results through the collection of data on conditions, energy use, and costs.
Planning grants of up to $40,000 (with an option of up to $50,000) are available to bring together interdisciplinary teams that will work collaboratively to identify sustainable preventive conservation strategies.
Implementation grants of up to $350,000 are available to manage interior relative humidity and temperature by passive methods; install heating, ventilating, and air conditioning systems; install storage systems and rehouse collections; improve security and the protection of collections from fire, flood, and other disasters; and upgrade lighting systems and controls to achieve levels suitable for collections that are energy efficient.
Over the program’s first five years, museums, libraries, and archives have used Sustaining Cultural Heritage Collections grants to
* identify passive strategies for creating more stable and protective collection environments;
* reevaluate specifications for relative humidity and temperature and establish realistic, achievable, and perhaps seasonally adjusted targets;
* repair building envelopes and improve site drainage to prevent moisture infiltration to help stabilize collection environments;
* investigate how the environmental management features of historic buildings might be used, especially those related to ventilation and control of solar gain;
* study the natural variations in a building to identify spaces best suited for collections and reorganize collections by material type, locating more vulnerable collections in spaces that are more naturally stable;
* employ the concept of multiple layers of buffering to create more stable conditions for collections;
* evaluate existing mechanical systems and optimize their performance;
* explore control strategies and programming of building automation systems for operating HVAC systems more efficiently, perhaps implementing managed setbacks and shutdowns of climate control systems in well-insulated spaces;
* design mechanical systems that are “right sized” and adopt, when possible, simple and easy-to-maintain systems and controls; and,
* install energy efficient lighting and employ occupancy sensors for control in storage spaces and galleries.
Guidelines, FAQs, and sample narratives from successful applications:
A list of previous awards:
NEH program officers are available to discuss project ideas and read draft proposals. Please contact the division for more information by emailing or calling 202-606-8570.

2014 IIC Forbes Prize Lecturer Announced

The Organising Committee requests the honour of your presence at the 2014 Forbes Prize Lecture at the forthcoming IIC 2014 Hong Kong Congress Opening Ceremony! The Forbes Prize Lecture will be delivered on Monday 22nd September at Hong Kong City Hall, the main venue for the Congress.  The IIC Congress will take place from 22nd to 26th September, 2014.
Dr-Jixiang-ShanThe Forbes Prize Lecture is one of the most important awards in the field of conservation and the lecture is delivered by a person who has made an outstanding contribution to the profession. This year IIC’s Council has been delighted to announce that Dr. Jixiang Shan (單霽翔博士), Director of the Palace Museum in Beijing, will be delivering the 2014 lecture.
Dr Shan was formerly the Director-General of China’s State Administration of Cultural Heritage (SACH) before his appointment as the Palace Museum Director in 2012. Dr Shan graduated from the School of Architecture of Tsinghua University with a Doctor of Engineering degree in urban planning.  Since then, Dr Shan has been a pioneer in China’s historic preservation movement and has developed his profound research interest in urban planning towardsseeking the preservation of cities of historic and cultural importancein an era that has witnessed an ever-accelerating pace of urbanization. In 2005, Dr Shan received an International Leadership Award from the American Planning Association, honouring his outstanding efforts and achievements in the field.
During his term of office at SACH, Dr. Shan has promoted China’s heritage preservation development by launching nationwide surveys of heritage sites and setting up a legal conservation framework through the introduction of National Cultural Relics Protection Law. His efforts have led to the successful implementation of many major heritage conservation projects, as well as the partnership with World Monuments Fund to restore the Qianlong Gardenand other renovation projects in the Palace Museum. Focusing on the Museum’s ancient complex of buildings and gardens, its unique collections of artifacts and objects, and on the safety and guidance of visitors, Dr Shan implemented the “Secure Palace Museum” Project in 2012. Looking forward, he is committed to nurturing future museum and conservation professionals, and resolving the limitations on museum development within the Forbidden City, with a view to passing down this splendid site to the generations of the next 600 years.
More details of the IIC 2014 Hong Kong Congress can be found at the IIC web-site:

From the New York Times: Acropolis Maidens Glow Anew.

Caryatid Statues, Conserved, Are Stars at Athens Museum

Read the full story here

Using specially developed laser technology, conservators at the Acropolis Museum stripped centuries of grime from the Caryatids statues, among the great divas of ancient Greece. Eirini Vourloumis for The New York Times
Using specially developed laser technology, conservators at the Acropolis Museum stripped centuries of grime from the Caryatids statues, among the great divas of ancient Greece. Eirini Vourloumis for The New York Times

ATHENS — For 2,500 years, the six sisters stood unflinching atop the Acropolis, as the fires of war blazed around them, bullets nicked their robes, and bombs scarred their curvaceous bodies. When one of them was kidnapped in the 19th century, legend had it that the other five could be heard weeping in the night.
But only recently have the famed Caryatid statues, among the great divas of ancient Greece, had a chance to reveal their full glory.
For three and a half years, conservators at the Acropolis Museum have been cleaning the maidens, Ionic columns in female form believed to have been sculpted by Alkamenes, a student of ancient Greece’s greatest artist, Phidias. Their initial function was to prop up a part of the Erechtheion, the sacred temple near the Parthenon that paid homage to the first kings of Athens and the Greek gods Athena and Poseidon.
Today they are star attractions in the museum; the originals outside were replaced with reproductions in 1979 to keep the real maidens safe.
Over the centuries, a coat of black grime came to mask their beauty. Now conservators have restored them to their original ivory glow, using a specially developed laser technology.
To coincide with the museum’s fifth anniversary, the women — minus one — went on full display in June, gleaming from their modern makeover. The missing Caryatid is installed at the British Museum in London, which acquired it nearly a century ago after Lord Elgin, the British ambassador to the Ottoman Empire, had it sawed off the Erechtheion’s porch, along with shiploads of adornments from the Parthenon to decorate his mansion in Scotland before selling the pieces to pay debts.
Greek and British authorities have long fought over the return of these so-called Elgin marbles, a dispute that heated up again recently when the actors George Clooney, Matt Damon and Bill Murray came out in support of the sculptures’ being returned home during an appearance in London for the movie “The Monuments Men.” That ignited a firestorm in Britain, which maintains that Lord Elgin saved the marbles from destruction, and acquired them fairly.
“Someone needs to restore George Clooney’s marbles,” London’s mayor, Boris Johnson, retorted. The controversy may flare anew as the British Museum plans an exhibit of the human body in Greek sculpture for next spring, using some of the marbles from the Parthenon.
Greeks have not been shy about using the Caryatid restoration to help press their case. While the Caryatids’ restoration is not part of a specific campaign to get the marbles back, the fresh cleaning shows that the museum can support their return, said Dimitris Pantermalis, the president of the Acropolis Museum.
“We insist on a solution” to the Elgin marbles, Mr. Pantermalis said. “A country must be ready when it claims something, and the Acropolis Museum has completed this.”
In the meantime, the missing Caryatid is glaring in its absence from the platform, a subversive display of resistance that is reflected one floor up in the museum, where large swaths of the Acropolis frieze owned by the British Museum are represented as chalky plaster copies of the originals. On a recent weekday, Mr. Pantermalis wove through crowds who stood enthralled around a special dais on which the five remaining Caryatids were displayed. “With the pollution erased, we can read more about the history of the last 2,500 years,” he said.
Continue reading the main storyContinue reading the main storyContinue reading the main story
Knots of people were glued to a video screen showing footage of the cleaning project, which was set up on the floor of the museum. Conservators wearing dark goggles wielded a dual-wavelength laser developed by the Foundation for Research and Technology-Hellas in Crete, a system that was also employed to restore the Parthenon’s west frieze and the high-relief metopes that adorned the east entrance. Beams of infrared and ultraviolet radiation pulsed across the hem of one Caryatid’s robes, burning soot millimeter by millimeter to reveal the apricot-tinted patina of the original marble.
Starting in 2011, a team of six Greek conservators focused on one Caryatid at a time, setting up fabric rooms around each statue and mapping its surface before attacking an ebony mantle of pollution that had thickened when Athens became a modern metropolis filled with car exhaust, factory fumes and acid rain. Along the way, the conservators found traces of an enormous fire set in the first century B.C. by the Roman general Sulla, and chunks of marble from clumsy repair jobs attempted centuries ago.
It took six to eight months to transform each statue from night into day, with the crews rotating shifts to avoid fatigue. The in-house restoration costs were minimal and funded with income from ticket and museum shop sales, said Costas Vassiliadis, a conservator who heads the restoration team.
“It looked almost like tattoo removal,” said Shawn Hocker, a tourist who had traveled to the Acropolis with his wife and friends from Wilmington, N.C. “You can imagine what they looked like in the ancient world.”
The museum plans to clean a number of other architectural sculptures from the Acropolis, using the laser technology, Mr. Vassiliadis said, although he declined to give details because the new projects had not yet been announced.
In their original setting, the Caryatids stood on the porch of the Erechtheion, with a sweeping southern view toward the Aegean Sea. They rested in contrapposto poses, three of them standing firmly on their right legs, demurely bending their left knees beneath diaphanous robes. The others stood in opposite pose. Together they held up a part of the temple’s massive roof.
The Caryatids’ origins were less poetic: According to one legend, Mr. Pantermalis said, the statuesque maidens were not intended to be glorified, but condemned to stand in penance at the temple for eternity to atone for an ancient treachery committed by their hometown, Caryae, a Greek city near Sparta that took the side of the Persians against the Greeks during the Peloponnesian War. Other historians say young women from the city who danced for the goddess Artemis were inspirations. The statues remained nameless, and even today they go simply by the letters A, B, C, D, E and F, Mr. Vassiliadis said.
Under the Ottoman Empire, the Erechtheion was converted into a harem, an indignity that the Caryatids survived. Soon after, in 1687, they were nicked by bullets and debris when the Parthenon was shelled during a battle between the Turks and the Venetians.
But officials say the modern equivalent of that destruction is the gaping hole that was left when Lord Elgin made off with the statue.
Mr. Pantermalis glanced out the window toward the Parthenon, leaning into the sky from the soaring rock of the Acropolis. “It’s been 200 years,” he said, returning his gaze to the Caryatids. “We think in the framework of the new museum, it’s possible to reunite our treasures.”

Recoloring Faded Taxidermy – Research into the Properties and Applicability of Dye Materials for Conservation Treatment.

In 2013, the American Museum of Natural History and Yale University’s Center for Conservation and Preservation were awarded an Institute for Museum and Library Services’ (IMLS) National Leadership Grant to fund a three-year project devoted to the development of best practices for recoloring faded taxidermy mounts displayed primarily in habitat dioramas: Recoloring Faded Taxidermy – Research into the Properties and Applicability of Dye Materials for Conservation Treatment.
Follow the research through the project blog – In Their True Colors: Developing New Methods for Recoloring Faded Taxidermy []. The blog is now live – add your comments and questions to be addressed in subsequent blog posts!
After years of display under bright lights, and harsh temperatures and humidity, many taxidermy mounts have become discolored and faded. Techniques for restoring the lost colors of damaged natural history collections are limited and under-researched. This knowledge gap puts at risk collections of great educational value, especially as some historical specimens represent species that are endangered, if not already extinct.
The project conservators are interested in developing re-coloring methods that would minimally alter the texture or sheen of hair and fur, and could be as reversible or re-treatable as possible.
This research will foster cross-disciplinary partnerships between conservators and scientists with varying forms of expertise, helping to bridge the institutional gap between natural history, art, and history museums and collections.
The IMLS-funded project will build upon promising results from a pilot study conducted by the Museum into the use of certain dyes, such as those used in certain specialized printing inks, to recolor taxidermy hair and fur. The next few posts will present the results of the restoration project that resulted in the dramatic restoration of the faded specimens in the habitat dioramas in the Museum’s Bernard Family Hall of North American Mammals.
The findings from the study, which the Museum conservators presented at 2012 annual meetings of the Society for the Preservation of Natural History Collections (SPNHC) and the American Institute for Conservation (AIC) and published in the October 2012 International Committee of Museum, Natural History Collections Working Group Newsletter, were received with immense interest by practitioners and researchers alike. Together with results from a national survey among conservation professionals, it was evident that there was a strong need for comprehensive research to explore additional materials and discover an appropriate method for recoloring faded taxidermy in museum collections.
Posted on behalf of Elizabeth Nunan
Associate Conservator
Natural Science Collections Conservation
American Museum of Natural History

Call for Proposals: 2015 Isabel Bader Fellowship in Textile Conservation and Research

Cover Image Bader
Agnes Etherington Art Centre and Master of Art Conservation Program
Queen’s University

The Isabel Bader Fellowship in Textile Conservation and Research supports the study, care and treatment of Canadian historical costume. Through the generous support of Dr. Isabel Bader, the Fellowship links two unique resources at Queen’s University: the Queen’s University Collection of Canadian Dress at the Agnes Etherington Art Centre, and the Master of Art Conservation Program, Canada’s only graduate degree in conservation theory and treatment.
The Fellowship provides an exciting opportunity for you to pursue your own research project in the area of textile conservation and/or costume history using the Queen’s University Collection of Canadian Dress. Your project will be supported by a conservation intern working under your supervision in the investigation and treatment of selected objects. You will also have access to the well-equipped textile laboratory in the Master of Art Conservation Program and opportunities to engage and share your expertise with the students through lectures, seminars and/or workshops.
One $12,000 Fellowship is awarded for a three-month residency at Queen’s University (plus up to $2,000 for research expenses). The Fellowship begins in January 2015. The Fellow is responsible for travel and accommodation arrangements.
To Apply
Experienced conservators and textile specialists are encouraged to apply. Please submit the following to Alicia Boutilier, Curator of Canadian Historical Art, Agnes Etherington Art Centre, 36 University Ave, Queen’s University, Kingston, Ontario, Canada, K7L 3N6:
• Cover letter, including name, contact information and project summary (maximum 150 words)
• Detailed research proposal, including objectives and methodology, use of Queen’s University Collection of Canadian Dress, schedule of work, projected outcomes and plans for dissemination of research (maximum 5 pages)
• Curriculum vitae
• Letters of support from two professional referees
Interested candidates are strongly encouraged to contact Alicia Boutilier ( well in advance of the closing date to discuss the relevance of their research interests to the Queen’s University Collection of Canadian Dress.
27 June 2014
Applicants will be notified by 1 August.
For further information about the Agnes Etherington Art Centre and Master of Art Conservation Program, please consult: and

PBS NewsHour new series: “Culture at Risk”

PBS NewsHour examines how development will impact Myanmar’s architectural & archaeological heritage in the first of a new series: “Culture at Risk”
Tuesday, April 15, 2014
“Culture at Risk” will explore the impact of war, climate change, neglect and more on cultural artifacts around the world.

Rush hour in downtown Yangon means commuters jam small motor boats to cross the Yangon River. Photo by Mary Jo Brooks/PBS NewsHour

For years, the people of Myanmar were cut off from the rest of the world, isolated by strict military rulers. But a recent cease fire has ushered in a period of calm, which is opening up the country and creating new opportunities. Many in Myanmar are eager to embrace the modern world, but others worry that its cultural heritage may be lost in the rush to modernize. As part of the new series, “Culture at Risk,” Chief Correspondent for Arts, Culture & Society Jeffrey Brown explores Myanmar’s efforts to preserve the colonial-era architecture of Yangon and restore the Buddhist architecture in Bagan all while building a 21st century future – Tuesday, April 15th, 2014 (check local listings).
Brown takes viewers through the grand buildings of downtown Yangon, hearing from Thant Myint-U, the founder and chairman of the Yangon Heritage Trust. “What we have now is a physical landscape that’s starting to change,” Thant Myint-U says, “but also this opportunity to remember this history, and to try to begin to save what we can, before it’s too late.” The pressure comes as outside investment flows into the country and all the benefits and ills of urban development begin to play out. Yangon’s population is expected to quadruple in the next twenty five years and, as developer Moe Zat Mone relays, “[w]e need more infrastructure, more hotels, hospitals, and more service apartments and office rentals.” Brown concludes his report among the archeological wonders of Bagan, the site of what’s said to be the highest concentration of Buddhist architecture of any place in the world, where balancing the demands of tourism and preservation raises additional questions for Myanmar’s future.
– Jeffrey Brown and Thant Myint-U take an extended video tour through a neighborhood with colonial-era architecture.
– A slide show about Bagan, the capital of a former Burmese Kingdom and said to contain the highest concentration of Buddhist architecture of any place in the world.
“Culture at Risk”
The NewsHour’s reporting from Myanmar is the first in a series of wide-ranging reports, titled “Culture at Risk”, that will explore both problems and solutions to visual arts that are in danger of being lost. Each installment will be led and reported by Chief Correspondent for Arts, Culture & Society Jeffrey Brown.
“Culture at Risk” will explore threats to cultural artifacts that include war, natural disasters, demographic and technological change, evolving artistic and architectural sensibilities, environmental degradation and climate change, and other factors. The series will connect news developments involving art and culture, examining the intersection of public policy and the arts, as well as decision-making around preservation and payment for the arts. Taken together, the series is intended to present a portrait of the many ways that culture is at risk while also capturing a range of ongoing and potential responses.
Read more: Is culture at risk in Myanmar? BY JEFFREY BROWN
PBS NewsHour’s “Culture at Risk” coverage is funded by the J. Paul Getty Trust.
The J. Paul Getty Trust is a cultural and philanthropic institution dedicated to critical thinking in the presentation, conservation, and interpretation of the world’s artistic legacy. Through the collective and individual work of its constituent Programs—Getty Conservation Institute, Getty Foundation, J. Paul Getty Museum, and Getty Research Institute—it pursues its mission in Los Angeles and throughout the world, serving both the general interested public and a wide range of professional communities with the conviction that a greater and more profound sensitivity to and knowledge of the visual arts and their many histories are crucial to the promotion of a vital and civil society.
PBS NewsHour is seen by over four million weekly viewers and is also available online, via public radio in select markets and via podcast. The program is produced with WETA Washington, D.C., and in association WNET in New York. Major corporate funding for PBS NewsHour is provided by BAE Systems, BNSF and Charles Schwab with additional support from the Corporation for Public Broadcasting, Carnegie Corporation of New York, the J. Paul Getty Trust, the William and Flora Hewlett Foundation, the John D. and Catherine T. MacArthur Foundation, National Science Foundation, the Alfred P. Sloan Foundation, Friends of the NewsHour and others.

Call for Participants: Blue Star Museums Program

The following message is posted on behalf of Wendy Clark, the Acting Director of Museums, Visual Arts & Indemnity for the National Endowment for the Arts.
NEA BlueStar
I’m writing to ask you to help us spread the word about the Blue Star Museums Program, which invites museums to offer free admission to active duty military personnel and their families during the summer. Last summer we surpassed our goal of 2,000 participating museums, and were proud that more than 700,000 military personnel and their families were treated to outstanding museum experiences. It may be that your institution/museum is already registered, but I felt compelled to try to spread the word to as many people as possible.
We hope it might be possible for your museum to participate, if so follow this link to sign up online. Even if your institution is already offering a similar program or already offers free admission to all, registering as a Blue Star Museum provides a national platform to showcase your museum to the military community.
If you have any questions please e-mail
Wendy Clark
Acting Director of Museums, Visual Arts and Indemnity
National Endowment for the Arts