Job Posting: Cultural Heritage Preservation Consultant; World Learning (remote position)

Apply for Cultural Heritage Preservation Consultant via
World Learning: Cultural Heritage Preservation Consultant Request for Quote

Main Facts Table
Reference Cultural Heritage Preservation Consultant
Contact for Questions and Quote Submission Edith Cecchini (
Deadline for submission of Quote Submissions 11:59pm EST on October 9, 2016
Skype Interviews with Finalists October 10-14, 2016
Estimated date of notification Week of October 17, 2016
Estimated dates of service October 24, 2016 – September 30, 2017 on an as-needed basis.
Total Estimated LOE (Level of Effort): 300 hours over 11 months, with an estimated 40 hours per month from November 2016 through April 2017 and 10 hours per month May through October 2017.

1. Need
World Learning seeks a Cultural Heritage Preservation Consultant to assist with the U.S. Department of State’s Communities Connecting HeritageSM grant from October 2016 through October 2017 on an as-needed basis. Total Estimated LOE (Level of Effort): 300 hours over approximately 12 months, with an estimated 40 hours per month from October through April and 10 hours per month April through October.
2. Background
Communities Connecting HeritageSM (CCH), is a two-year (9/1/2016 through 8/31/2018) U.S. Department of State-funded program awarded to World Learning as the prime implementer. CCH is an international people-to-people exchange program that engages communities and empowers people through the exploration of cultural heritage issues. The program brings together U.S. and international communities, especially youth, women, ethnic minorities and other underserved groups, through collaborative exchange projects that advance cultural heritage preservation through community outreach and public education. Youth ages 12-25 will be the primary demographic both in terms of participants and outreach. The program will include three phases: first, the selection of participating organizations and the creation of partnerships that result in the co-creation of a project; second, the virtual engagement of beneficiaries and participants during project implementation; and finally, the in-person exchanges between the two partners. This is a new initiative of the U.S. Department of State.
3. Purpose and Scope
The goals of the CCH Program are to:

  • Promote mutual understanding between the people of the United States and the people of other countries (six countries TBD);
  • Showcase the role of cultural organizations as vibrant, engaged and influential institutions in contemporary society and convey the importance of tangible and intangible cultural heritage to community and national identity;
  • Increase awareness and understanding of American art, culture, values and society for international participants and audiences;
  • Foster opportunities for education outreach and community engagement with diverse and underserved communities, especially youth (ages 12-25), women, ethnic minorities, and refugees;
  • Provide unique opportunities for artistic collaboration, engagement and/or public exhibition between American and international participants; and
  • Create opportunities for sustaining relationships and collaboration between U.S. and international participants and institutions that endure beyond the exchanges.

The program aims to achieve these goals through achieving the following objectives:

  1. Identify and solidify 6 collaborative and sustainable partnerships between cultural organizations in the United States and foreign countries that lead to the conceptualization of innovative, cultural preservation projects;
  2. Support the implementation of 6 cultural heritage preservation projects through dynamic virtual and in-person exchanges that engage youth, ethnic minorities, women, and other disadvantaged populations; and
  3. Provide cultural heritage organizations with the tools and opportunities to expand their impact and sustain partnerships.

In order to achieve these goals, World Learning’s CCH team will hire a consultant with expertise in cultural heritage preservation/anthropology/the arts to work with World Learning on the following activities:
(Activity 1):  Identifying Target Countries and International Partners
The Cultural Heritage Consultant will join World Learning staff in reviewing international partner applications, as well as participating in interviews with final partner candidates. S/he will ensure that selected organizations demonstrate the requisite experience and understanding of key cultural heritage preservation concepts and programming. The U.S. Department of State must approve all finalists.
(Activity 2): Selecting U.S. Partners
S/he will help World Learning staff identify U.S. organizations with a reputation for excellent cultural programming to receive the request for proposals and may also be called upon to assist with the development of the RFP. The Consultant will sit as a member of the selection committee and contribute to the development of selection criteria.
(Activity 3): Co-Creation of Project Design
S/he will participate in supporting and reviewing the project design co-creation process between the matched partner organizations, ensuring that final projects address best practices in cultural heritage preservation and align with international standards. S/he will provide advice and mentorship to partner organizations as they identify their key beneficiaries, develop community outreach plans and articulate their project ideas.
(Activity 4): Ongoing Monitoring and Evaluation 
World Learning staff will consult with the Cultural Heritage Consultant as projects are being implemented and evaluated. S/he will work with the project team to address any implementation issues and recalibrate activities as needed.
 4. Consultant Requirements

  • Must be fluent in English
  • A minimum of 5 years of experience working on cultural heritage preservation projects
  • Strong network in the cultural preservation field, preferably with an international scope
  • Experience working with cultural organizations, both in the U.S. and abroad (especially Near East and North Africa, South and Central Asia, and/or Europe and Eurasia)
  • Experience planning, promoting, and implementing a variety of public exhibitions
  • Familiarity and comfort with virtual engagement
  • Knowledgeable of latest technology used in cultural preservation
  • Excellent communication skills, including: clarity in writing and speaking, timely responsiveness, ability to juggle multiple inquiries and needs for input
  • Creativity: ability to ideate and brainstorm
  • Cross-Cultural Communication Skills
  • Flexibility: willingness to work ad hoc and at a variety of daytime/evening time hours due to expected multiple international time zones of partners

5. Required Application Components

  • Resume (no more than 3 pages): Relevant Qualifications and Current Base of Operations/Current and Expected Physical Address during the timeframe of work.
  • Cover Letter (up to 2 pages): Explain your interest, your qualifications, technical expertise, past experience designing cultural preservation projects, working with youth, working with the international community, and working virtually.
  • Examples: three to five examples of recent cultural preservation projects that you have designed, led, and/or implemented within the last 10 years. Samples should not be more than one-page executive summaries.
  • Rate Quote: Please provide a quote of your expected hourly rate in your cover letter or on a separate document. Prices should be quoted in USD. Payment is expected to be on a quarterly basis, but timing is negotiable.

6. Evaluation Criteria (Out of 100 Points Maximum)

  • Educational Qualifications: (20 Points Maximum)
  • Experience: Cultural Preservation Experience/Stength of Samples (60 Points Maximum)
  • Rate: Reasonable and Commensurate with Experience (20 Points Maximum)

Offerors will not be reimbursed for any costs incurred in connection with the preparation and submission of their offers. World Learning reserves the right to: conduct negotiations with and/or request clarifications from any Offeror prior to selection; or cancel any of the items/services described or the entire bidding process.
7. Submission Instructions:
Submission of questions, and proposal materials should be sent by email to  By submitting a quote in response to this RFP, the Offeror certifies that it and its principal officers are not debarred, suspended, or otherwise considered ineligible for an award by the U.S. Government. World Learning will not award a contract to any entity or individual that is debarred, suspended, or considered to be ineligible by the U.S. Government.

Grant: NPS Announces 2017 Preservation Technology and Training Grant Funding Opportunity


 WASHINGTON –The National Park Service (NPS) today opened the application period for 2017  Preservation Technology and Training  Grants (PTT Grants) to create better tools, better materials, and better approaches to conserving buildings, landscapes, sites, and collections. The PTT Grants are administered by the National Center for Preservation Technology and Training (NCPTT), the National Park Service’s innovation center for the preservation community. NCPTT has set aside $300,000 for the grant program, pending the availability of funding.

Kirk Cordell, Deputy Associate Director for Science, Technology & Training, said “NCPTT’s grants program supports innovative projects that develop new tools and technologies to improve the preservation of the nation’s historic resources.”

The competitive grants program will provide funding to federal agencies, states, tribes, local governments, and non-profit organizations. PTT Grants will support the following activities:

  • Innovative research that develops new technologies or adapts existing technologies to preserve cultural resources (typically $25,000 to $40,000)
  • Specialized workshops or symposia that identify and address national preservation needs (typically $15,000 to $25,000)
  • How-to videos, mobile applications, podcasts, best practices publications, or webinars that disseminate practical preservation methods or provide better tools for preservation practice (typically $5,000 to $15,000) 

The maximum grant award is $40,000. The actual grant award amount is dependent on the scope of the proposed activity.

NCPTT does not fund “bricks and mortar” grants.

 NCPTT funds projects within several overlapping disciplinary areas.  These include:

  • Archeology
  • Architecture
  • Collections Management
  • Engineering
  • Historic Landscapes
  • Materials Conservation

In order to focus research efforts, NCPTT requests innovative proposals that advance the application of science and technology to historic preservation in the following areas:

  • Climate Change Impacts
  • Disaster Planning and Response
  • Modeling and Managing Big Data
  • Innovative Techniques for Documentation
  • Protective Coatings and Treatments

Other research topics may be considered for funding.

Who may apply?

  • U.S. universities and colleges,
  • U.S. non-profit organizations: museums, research laboratories, professional societies and similar organizations in the U.S. that are directly associated with educational or research activity, and
  • government agencies in the U.S.: National Park Service and other federal, state, territorial and local government agencies, as well as Hawaiian Natives, Native American and Alaska Native tribes and their Tribal Historic Preservation Offices.

Other organizations can participate only as contractors to eligible U.S. partners. Grants funds support only portions of projects that are undertaken or managed directly by U.S. partners and expended in the U.S. and its territories.

How do I apply?

Applications must be submitted using Search in for Funding Opportunity #P16AS00579, under Catalogue of Federal Domestic Assistance (CFDA) number 15.923 or 2017 Preservation Technology and Training Grants.

When is the deadline for applications?

Applications must be submitted by 11:59pm EDT Thursday, November 3, 2016.  If the project is funded, applicants should expect to be able to begin work no sooner than July 2017.

For questions about the  please contact NCPTT at 318-356-7444.

Job Posting: Associate Book & Paper Conservator – MNHS (Minneapolis, MN)

The Minnesota Historical Society (MNHS) seeks qualified and experienced applicants for an Associate Book & Paper Conservator position, to provide conservation treatment for MNHS book and paper collections and to manage the book and paper conservation laboratory, including a Conservation Assistant. 

Desired qualifications include an advanced degree or Certificate in Art Conservation plus three years of experience.  This is a fulltime position (2,088 annual hours) and the salary is projected to be at least $45,000 annually.

The Minnesota Historical Society is a 167-year old organization, headquartered in the Minneapolis/St. Paul area, and maintains a museum, library, and archives, in addition to close to 30 diverse historic sites throughout the state. The organization is a national leader in historic preservation, and by many metrics (including budget, staffing, and membership) is one of the largest state historical societies in the United States.  Currently MNHS maintains four separate conservation laboratories for the preservation of books and paper, textiles, objects, and archaeology, and employs five trained conservators.  The conservation facilities are large, flexible, well equipped, and modern.

To apply submit MNHS Application for Employment, (available at, cover letter, resume, and if applicable, any supplemental forms.  

The specific job listing can be found at the following link:

Application materials must be received by August 23, 2016. 

BROMEC 36, the Bulletin of Research on Metal Conservation, is now available

BROMEC 36, the Bulletin of Research on Metal Conservation is now available online at the following websites:

Seven research abstracts and 2 announcements are presented, together with the usual lists of related contacts and informative metal research/conservation websites and discussion groups.

You will find English, French and Spanish language versions for downloading as PDF documents.

To subscribe for email updates about BROMEC:

As a reader, or potential contributor, we trust you will find this issue informative and useful.

BROMEC Editorial Team

Anglophone Editor & Translator:

·      James Crawford

Francophone Coeditor:

·      Michel Bouchard

Hispanophone Coeditor:

·      Diana Lafuente

Francophone Translators:

·      Nathalie Richard

·      Elodie Guilminot

Hispanophone Translators:

·      Ana Cresp

·      Ana Pastor

Job Posting: Objects Conservator – National Museum of African Art (Washington, DC)

Objects Conservator

The Smithsonian’s National Museum of African Art is the only facility in the United States dedicated exclusively to the treatment and preservation of Africa’s traditional and contemporary arts.  With the generous support of the Andrew W. Mellon Foundation, the Museum is pleased to offer to an emerging professional the opportunity for a full-time, 2-year term position working with museum conservation staff on all aspects of collections care. Beginning in early fall 2016, the position is part of an initiative designed to promote conservation training, diversity in the profession, and African art scholarship. The successful candidate will actively participate in all aspects of practical conservation including:  examination, documentation and treatment of a range of inorganic and organic materials, both traditional and contemporary; preventive conservation activities such as monitoring the environment, maintenance of micro-environments, and materials testing; assisting in exhibit installations and deinstallations; participating in lab research projects; and the mentoring of undergraduate ‘explorer’ interns, pre-program interns and post-graduate fellows.

 The successful candidate will:

*Hold a graduate degree in conservation from a recognized training program

*Have 1-3 years of post-graduate experience

*Have demonstrable interest in ethnographic objects

 Salary: $53,500/year plus health and commuter benefits.

 How to apply:

Please send a letter of intent, resume and names of two references to:
Dana Moffett, Senior Conservator:
Closing date: August 8, 2016

Job Posting: NYSA, Historic Conservation Technician

New York State Archives, Office of Cultural Education, State Education Department

Historic Conservation Technician 2, SG-12 (CSEA-OPERATIONAL)


SALARY: $40,172


The New York State Archives is seeking to fill a Historic Conservation Technician (HCT) 2 position in the Office of Cultural Education.  The focus of the position is the digitization of selected records in the Archives holdings for online delivery and in response to research requests.  Under the direction of an Archives and Records Management Specialist (ARMS) 2 in the Collections Management Unit, duties of this position will include, but are not limited to, the following:

  • Participate in the digitization of selected collections;
  • Conduct review processes to ensure the quality of resulting digital images and corresponding metadata;
  • Participate in preservation reformatting activities such as original microfilming and microforms duplication;
  • Participate in collections management activities such as stacks maintenance, monitoring environmental conditions in the Cultural Education Center, and disaster preparedness and response; and
  • Carry out other tasks as assigned.

MINIMUM QUALIFICATIONS: For provisional appointment candidates must have three years of conservation or preservation or historic collections-related experience in the discipline to which assigned.  A bachelor’s or master’s degree in history, public history, art history, museum studies, photographic preservation, collections management, conservation, or fine arts may be substituted for two years of experience.

For full job announcement, qualifications, and application process please see:

92-year resident of Georgia barrier island leaves home treated by FAIC

Sandy West’s family bought Ossabaw Island, a barrier island off the coast of Georgia, in 1924. For almost a century, she inhabited the “Main House,” one of the few buildings on the island, and worked to protect the island and share its beauty with others. In 2010, FAIC joined furniture conservator David Bayne in a program to bring emerging conservation students to the island to gain hands-on training in historic home housekeeping and preventive conservation. The culmination of four summer workshops on the island resulted in a 40-page guide to caring for West’s home, prepared in 2015 for the State of Georgia’s Department of Natural Resources, which will gain control of the house after West’s death.
As a result of West’s eventual financial instability, the 25,000-acre island was sold in 1978 to the State of Georgia for a discounted price in hopes of preserving the sacred place. As a result, Ossabaw became Georgia’s first Heritage Preserve. The deal with the state allowed for West to remain in the colonial revival mansion on the island until her death (at the time, a state-hired actuary predicted she’d live to be 78). Now at the age of 103, West recently relocated to Savannah to access more affordable full-time care.

2013 Team - Ossabaw Island Preventive Conservation Workshop
2013 Team – Ossabaw Island Preventive Conservation Workshop

The FAIC workshops (see the plan for the 2015 course) taught the basics of preventive conservation in the pink 1920’s Main House. Ossabaw’s remoteness and climate presented a unique medley of housekeeping problems for the groups to consider. These workshops explored the relationship between objects, their history of use, and their long-term preservation in a historic house setting.
During each day of the two-week program, participants learned about different materials and how to care for them. The activities ranged from pest management to furniture handling; textile cleaning to taxidermy examination; and maintenance of book and paper collections. Participants gained experience in assessing and prioritizing issues with limited time and resources. The site contextualized objects in poor condition with their environment and acted as a counterpoint to the experience of working in a museum lab.
The living room in the Main House on Ossabaw Island, GA.
The living room in the Main House on Ossabaw Island, GA.

FAIC’s Ossabaw Housekeeping Guide provides yearly, quarterly, monthly, and weekly care recommendations specific to the main rooms of the house based on the objects and materials in the room. Pests, light levels, temperature, and relative humidity were monitored, with recordings included in the guide. Suggestions for crisis housekeeping are also included, and may be incorporated in a full disaster plan in the future.
For several reasons, including difficulty in getting to the island, FAIC had to find a new location for the historic house training workshop. The 2016 workshop is currently taking place with eight participants and five instructors at Staatsburgh State Historic Site, a property owned by the New York State Bureau of Historic Preservation. Keep an eye out for blog posts by the participants coming soon.
As West’s time on Ossabaw Island ends and the state prepares to take over the Main House, they are equipped with a solid resource for implementing a standard of practice and recommendations to be considered for the future care of the historic home.
You can find a review of the program from a 2012 participant on the blog: and an article on a workshop presented as a talk at our annual meeting in San Francisco (from which the above photographs have been reposted):

–Article by Sarah Saetren (FAIC Education Coordinator) with Bonnie Naugle

44th Annual Meeting – Research and Technical Studies Session, May 16, "Looking Closer, Seeing More: Recent Developments in the Technical Documentation of Paintings", by Ron Spronk

In the morning session on May 16th, Ron Spronk, Professor of Art History in the Art Conservation Program at Queen’s University, shared his experiences with several recent endeavors to standardize the technical documentation of paintings and to make the resulting information both accessible and user-friendly.

Followers of the Rembrandt Research Project will be familiar with the missions of the projects Spronk describes in that they each generally aim to comprehensively study the oeuvre of a single artist.  However, the crucial difference is that the more recent ventures are web-based, open-access, and shareable, and they are highly reliant on the compilation and comparison of images obtained using consistent methods across institutional boundaries. 

Spronk spoke first about Closer to Van Eyck: Rediscovering the Ghent Altarpiece, an initiative made possible through the partnership of many organizations, including the Royal Institute for Cultural Heritage (KIK/IRPA), the Getty Foundation, and the Netherlands Organisation for Scientific Research. During the presentation, Spronk briefly toured the audience through the website, which is beautifully user-friendly and self-explanatory. Definitions are available for each of the analytical techniques used, and it is also possible to download condition, materials research, and dendrochronology reports. 

The follow-up website, Even Closer to Van Eyck, is set to launch shortly and will focus more on the treatment of the altarpiece. As the Getty Foundation website pronounces, This second phase of the Van Eyck project will incorporate high-resolution images produced during and after the full conservation of the altarpiece, which is currently underway. The web application is expected to set new standards for digital projects related to art history and conservation by providing access to the decision-making process for the treatment of the altarpiece and by disseminating the open-source technology behind the website to the museum community.” Another extension of the Closer to Van Eyck website is VERONA, or Van Eyck Research in OpeN Access, which has aimed to study and document all paintings securely attributed to Van Eyck in a standardized manner. The resulting scholarship will be published online.

The Bosch Research and Conservation Project similarly attempts to consistently document the entire oeuvre of Hieronymus Bosch and includes restoration of nine works. Several structural treatments were supported by the Getty Panel Painting Initiative. The Bosch website shows three works represented by high-resolution photographs in normal light, infrared images, and X-radiographs, with a three-pane slider moving between them. Spronk described the method by which all of the images were obtained using a window frame, which lets the camera remain completely parallel, and showed a video demonstrating the documentation process. A larger website application is set to be launched at an indeterminate date. 

Although not covered during the presentation, the abstract also lists the “Hand of the Master on panels by Pieter Bruegel the Elder,” a comprehensive workshop on Bruegel that took place at the Kunsthistorisches Museum in Vienna from November 24-25, 2015. The workshop program and a presentation by Angela Cerasuolo on The Parable of the Blind and The Misanthrope in the Museo Nazionale di Capodimonte, Naples may be found on

In searching for these websites after Spronk’s presentation, it became clear that these projects are all very much in progress, and only partial information is, as of yet, available. However, these endeavors appear to be extremely promising. The Even Closer to Van Eyck website in particular is eagerly anticipated because it will share the methodology used to treat the altarpiece. Much as the altarpiece during treatment is itself on display, this website should set a new precedent for transparency and should further raise public awareness of conservation activities. The founding concept of comprehensive, standardized, and open-access documentation on which these projects are based presents an encouraging model that will hopefully one day become more common practice, providing greater opportunities for interdisciplinary research and collaboration.

44th Annual Meeting – Paintings Specialty Group Tips Session, May 17

This year’s Paintings Tips session focused predominantly on a range of commercial products that can be adapted for specific uses in paintings conservation.
Gordon A. Lewis, Jr. recommended powerful LED and UV flashlights for examination of paintings in-situ, which are available from In addition to other uses, he demonstrated the suitability of these lights for transmitting a strong light through the back of a canvas to reveal tears and other structural issues.
Dina Anchin introduced the audience to the ProScope Micro Mobile, a hand-held, high-resolution microscope that attaches to one’s phone and allows the capture of photomicrographs. This is particularly useful when examining paintings in-situ or on research visits.
Alexa Beller presented on behalf of herself and Joyce Hill Stoner on miniature “Humidification Chambers,” using a moistened blotter placed within the lid of a pigment capsule (such as used for a palette of dry pigments) and positioned over the area of the painting requiring humidification.
Josh Summer recommended miniature hand mixers or milk frothers as a helpful and inexpensive tool for preparing emulsions and gels.
Erin Stephenson presented on behalf of Sarah Gowen, who has researched and tested a number of materials potentially suitable for filling cradled panel paintings prior to obtaining an X-radiograph. These fillers include Elvacite 2045, Elavacite 2044, Elvacite 2046, Poly(vinyl alcohol), Butvar B-76, Paraloid B-72, and wood flour. Of this list, Sarah recommends Elvacite 2045, as other materials tend to clump, are too visible in the X-radiograph, or produce slippery residues.
Claire Winfield described the recipe for a “milkshake” paintable fill (1 part Modostuc or spackle, 1 part acrylic gesso, dry pigment and water to taste), so-named because it is mixed to the consistency of a milkshake. This fill material can then be brush-applied within areas of loss and is particularly useful in retaining some canvas texture.
Gwen Manthey pointed out that many websites including Pinterest show helpful flat-lay pack methods when packing tools for on-site conservation work.  She also mentioned that shaving brushes are often made of badger hair, and shaving product companies can be a useful source for these brushes.
Judy Dion presented a number of product recommendations, including washer head screws for attaching backing boards (such as Teks Lath Screws), a muffin cooling fan for low solvent extraction from studio spaces, and small LED spotlights with flexible necks for microscope work . Judy also demonstrated the use of a T-track for clamping, easel construction, or a height-adjustable armrest for working on large paintings.
Rustin Levinson spoke about the recent construction at ArtCare Inc. of a mobile paintings storage rack consisting of marine ply and PVC with clear vinyl flooring. The entire rack can be covered and moved around the studio.
Rob Proctor recommended a number of tools, including 1 mL calibrated glass droppers and vacuum nozzles adapted as handles for burnishers. To minimize shock to a painting during structural treatments, he also demonstrated using a nail pusher to insert tacks and using a clamp to gently push in keys.
A few attendees volunteered last-minute tips, including a portable Miroir projector for on-the-go presentations, and the brand Muji for black Q-tips, useful for testing sensitivity of light-colored paint passages.
The session ended with an update from Elise Clifford about the Reverse of Paintings Database being developed at the Fine Arts Museums of San Francisco. The completed database will allow users with a login to upload and search information related to the reverse of painting such as labels, canvas stamps, and stencils. If you are interested in participating in beta-testing of the website, you are invited to email Elise.
Thank you to all of the presenters for such valuable tips!

Grants to join us in Los Angeles for the 2016 IIC Congress – Only two weeks left to apply!

IIC 2016 Los Angeles Congress-logo_0A range of grants is now available to assist practising conservation professionals and students to attend the IIC 2016 Los Angeles Congress.  The Congress is on the intriguing and challenging topic of Saving the Now: Crossing Boundaries to Conserve Contemporary Works and will take place from the 12th to 16th September 2016.  Please note that the deadline for application for all these grants is 31st May 2016.

  • The Getty Foundation

Thanks to the generosity of the Getty Foundation we are able to offer a limited number of grants to enable practising conservators to attend the Congress. These grants are not available to students nor to recipients of other IIC-managed grants related to attendance at the IIC 2016 Congress.
Application is open to individuals from any country not part of Western Europe, North America, Australasia or Japan, currently in employment in either a public or a private capacity. For this Congress, applications are particularly welcomed from south and central America and the Caribbean.

  •  The Brommelle Memorial fund: help for Student Members of IIC

Applicants for these IIC grants are required to be enrolled in a full-time course of conservation training leading to a recognised academic qualification. Students may apply for this funding at any time during their course of study, including their final year or internship.
These grants are not available recipients of other IIC-managed grants related to attendance at the IIC 2016 Congress. As the fund can offer only limited support, it is not expected that these grants will cover the whole costs of attending the Congress and recipients should obtain additional funding from elsewhere.

  •  Tru Vue

Thanks to the generosity of Tru Vue, we are able to offer several grants each of US$1,000 to assist practising conservators to attend the Congress.
These grants are not available to students nor to recipients of other IIC-managed grants related to attendance at the IIC 2016 Congress. Application is open to individuals from any part of the world currently in employment in heritage conservation in either a public or a private capacity.

  • The Gabo Trust

As with previous IIC Congresses, we are delighted to have the participation of the Gabo Trust in the 2016 Los Angeles Congress. The theme of the 2016 Congress Saving the Now: Crossing Boundaries to Conserve Contemporary Works is particularly relevant to the work of the Gabo Trust.
 Applications and further details
Instructions for applicants and more information can be found on the IIC Congress pages at
–Graham Voce