In the 1990s there was a pioneering study on the use of parylene to strengthen brittle book paper performed by Don Etherington, David Grattan, and Bruce Humphrey. Ultimately their research did demonstrate that parylene strengthened weak, brittle paper, but several concerns regarding the material’s long term effects were raised; such as reversibility and the uncertainty of its aging properties. John Baty and his colleagues at the Heritage Science for Conservation Research Center at Johns Hopkins University, sought to reexamine the potential for using parylene to strengthen brittle paper, given the improved scientific instruments and analysis methods available today. Their research sought to answer five primary research questions: does parylene strengthen paper, what is the permanence of its effect, what are the side effects, how can parylene treatment be scaled up, and how can it be reversed. Currently they have answered the first two and are conducting ongoing research.
Parylene is applied to brittle books by using a chamber that draws a vacuum and essentially pulls sublimated parylene through the system. The amount of parylene dimer that is added to the chamber directly correlates to the thickness of the deposited film. Previous research had not optimized the amount of parylene needed to achieve a desirable film layer, so this was a primary goal for Baty and his colleagues. The success of the treatment was evaluated using three mechanical paper strength tests: tensile testing, the MIT fold endurance test, and the Elmendorf tear test.
Baty and his team found that using 3 grams of parylene was sufficient to strengthen brittle paper to the point that it behaved similarly to modern wood pulp paper and only imparted a smoother appearance to its surface. 5 grams of the dimer was too much and conservators inspecting the pages concluded that the paper had a more “plasticky” and stiff feel to it. The three mechanical tests did indicate that the brittle paper samples were strengthened with the addition of a parylene coating, but there are still questions regarding this treatment’s reversibility and side effects that remain to be answered by Baty and his team in subsequent research.
Category: AIC’s Annual Meeting
Provides the membership with updated news about the annual meeting. Also announces themes, deadlines for papers, need for volunteers, etc.
43rd Annual Meeting – Research and Technical Studies, May 15, “The Deacidification of Contemporary Drawings: A Safe Method Based on Nanotechnology” by Giovanna Poggi
The degradation of cellulose-based materials, such as paper and canvas, is exacerbated by the presence of acidity caused by the natural aging process, various sizings, surface coatings, inks, or other papermaking products. Conservators attempt to mitigate this problem by the use of alkaline compounds to deacidify the substrate and impart an alkaline reserve within the fibers to counteract future acidity. In the case of paper-based objects, deacidification is most commonly accomplished by either washing in an alkaline bath or spraying on a solvent-based dispersion solution of micro-particles of magnesium or calcium.
Dr. Poggi’s talk presented research into a new method that can be used to deacidify paper-based objects using an apolar solvent dispersion of alkaline nanoparticles applied topically (an airbrush was used in these experiments), without the need for full immersion. The benefit of using nanoparticles for deacidification is that these particles have a higher surface area which react more readily with acidic compounds, creating a faster neutralization reaction; they are more homogenous in structure; and nanoparticles are able to penetrate further through the paper fibers, surface coatings, and sizing than micron sized particles. This research was conducted as part of the broader Nano for Art project, which seeks to devise new methods for the conservation and preservation of art using nanotechnology. More information can be found at their website: http://www.nanoforart.eu/.
Through the use of solvothermal reactions, Dr. Poggi and her colleagues were able to procure nano-sized particles of a crystallized form of CaOH in ethanol. They discovered that an alcohol based system created a stable, highly concentrated dispersion without the need for further purification and was very effective at deacidification. However, this solution could not be applied to more modern papers containing inks which were sensitive to alcohol. Apolar solvents were explored due to the fact that they would not adversely impact the topography of cellulose substrates. A variety of problematic inks were tested, such as ballpoint pen and felt tip marker, until it was determined that cyclohexane was the most appropriate solvent to use. During experimentation on both mockups and actual works of art, it was found that the cyclohexane dispersion did not adversely affect modern inks nor the topography of the paper substrates. Aging tests were performed on samples and indicated that papers treated with the nanoparticle dispersion discolored less and had an improved degree of polymerization when compared to aged, untreated samples.
Dr. Poggi’s presentation was very interesting and I’m looking forward to learning more about the use of these nanoparticle solutions to achieve a more effective and hopefully long lasting form of deacidification.
43rd Annual Meeting – ECPN/CIPP Happy Hour, May 13
Before the opening sessions began, the Emerging Conservation Professionals Network and Conservators In Private Practice co-hosted an evening happy hour at the Hyatt Regency Miami (sponsored by Tru Vue, Inc.). Everyone at the conference was welcome as this event was not ticketed. Appetizers present included breads, cheeses, hummus, fruits and vegetables, and even mini burgers. Alcoholic and non-alcoholic drinks were available for purchase.
Attendees ate, drank, and mingled indoors on the Promenade or outside on the Riverwalk Terrace (image below). The event was well attended with probably between one or two hundred people networking and having fun. Some people decided to stay inside the air conditioned building while others went outside to enjoy the 80˚ weather and view of the Miami River. There were tables and chairs available for small groups to gather, and alternatively, many small groups also chose to sit on the steps and relax.
I certainly recommend those of you who did not attend to do so at a future conference, especially if you are an emerging professional. This happy hour was an excellent opportunity to meet the other attendees. If you are someone who is nervous about attending, please remember that this is supposed to be laid-back and other people want to meet you too. If you know some people at the conference, feel free to begin the evening with them. But after you are more comfortable, you should also make an effort to branch-out and talk to people that you do not know. And do not forget to distribute business cards to your new contacts.
If you want to learn more about other networking opportunities open to attendees, you should read reviews for the Opening Reception, Specialty Group Receptions, and Emerging Conservation Professionals Luncheon.
43rd Annual Meeting – Opening Session, May 14, Turning Philosophy into Practice: Documenting Process Through White Papers, by Benjamin Haavik
Through many years of preservation practice, Historic New England has developed traditions of care to achieve structural and aesthetic standards in its historical properties. Examples include methods of repairing joints; labeling repair materials; setting varied target dates for the appearance of structures; and larger concepts like “replace in kind.” Benjamin Haavik discussed his efforts as the Team Leader for Property Care to standardize these treatment practices and ethics by creating white papers.
With varying amounts of detail, white papers can standardize practice for both internal work and contracting. Haavik proposes that 75% of any project can be standardized into defined, basic steps. The remaining 25% is the most difficult part of project development. This 25% might include project details (what materials and how much to replace?), organizational philosophy (which of several column styles should be matched?), and practitioner’s experience (how can we best determine methodology in the field?) Time and cost are the limiting factors in standardizing this last 25%, since highly-detailed white papers may address issues that are more effectively determined on a case-by-case basis.
While Haavik’s talk examined management processes, surprising corollaries existed with John Hogan’s and Carol Snow’s “Sol LeWitt’s Wall Drawings: Conservation of an Ephemeral Art Practice.” Hogan echoed Haavik’s observations about the challenges of realizing the most interpretive portions of a project: here, Sol LeWitt’s instruction-based Wall Drawings. Whether in preservation management or art conservation, codified standards require careful interpretation in order to create successful work.
43rd Annual Meeting – Opening Session, May 14, The False Dichotomy of “Ideal” versus “Practical” Conservation Treatments, by Barbara Appelbaum (presenter) & Paul Himmelstein
AIC’s 43rd Annual Meeting opened with a challenge to its central theme, “Practical Philosophy, or Making Conservation Work.” In her opening talk, Barbara Appelbaum proposed that conservation treatment does not place theory and practice at odds. Instead, treatment is inherently an act of compromise, in which the needs of stakeholders and the needs of the object are blended into an ideal course of action. As acceptable end states for treatment have broadened, a wider range of conservation strategies has become acceptable. Examples were drawn from the contrasting worlds of institutional work and private practice. These environments can offer different types of knowledge about an object’s value, authenticity, and ongoing care. Ethical and effective treatments are equally feasible in both.
Appelbaum cautioned that semantic debates between theory and practice can create burdensome self-doubt among practicing conservators. Our field’s professional literature is both abundant and conflicting, potentially leaving the conscientious practitioner with lingering worries about fundamental practices and tenets. AIC’s core documents help to address this situation by offering support for flexible and ethical conservation strategies.
Contrasting views on the impact of compromise were discussed elsewhere during the conference, including Julie Biggs’ and Yasmeen Khan’s “Subject and Object: Exploring the Conservator’s Changing Relationship with Collection Material.” While Appelbaum highlighted how conservation treatment may be strengthened through processes of choice and compromise, Biggs and Khan suggested a dilution of achievable treatment goals and specialist skills given the competing demands of traditional conservation, digitization, and exhibition. These underlying themes animated many varied and timely discussions throughout the Miami meeting.
43rd Annual Meeting-Book and Paper Session, May 15, 2015, "16-17th Century Italian Chiaroscuro Woodcuts: Instrumental Analysis, Degradation and Conservation" by Linda Stiber Morenus, Charlotte Eng, Naoko Takahatake, and Diana Rambaldi
The presenter, Linda Stiber Morenus, began her discussion of these complex prints with a description of the printing process. Chiaroscuro woodcuts were intended to emulate chiaroscuro drawings, which were comprised of black chalk shadows and white chalk highlights on colored paper. Color oil-based printing inks were first used to print 14th-century textiles, being used on paper by the mid 15th-century. The chiaroscuro woodblock prints required two to five separate woodblocks, inked with different shades lighter and darker than the midtone colored paper.
In order to better characterize the media, Morenus collaborated with art historian Takahata, and conservation scientists Eng and Rimbaldi from the Los Angeles County Museum of Art (LACMA). In addition to prints at LACMA, the team studied prints from the British Museum and Library of Congress. Out of over 2000 surveyed woodcuts, 72 were studied in depth, with X-ray Fluorescence (XRF), Fiber Optic Reflectance Spectroscopy (FORS), and Raman spectroscopy. Inorganic compounds were indicated by XRF analysis. FORS was especially helpful for detection of indigo. Raman spectroscopy provided additional information about organic colorants.
Renaissance artists’ manuals, such as Cennino Cennini’s Libro dell’Arte guided the research by providing information on the most likely colorants for printing inks. Inorganic pigments included lamp black, lead white, ochres, vermillion, verdigris, and orpiment. Organic pigments included indigo and a variety of lake pigments.
After providing background information, the presenter began to focus on deterioration and conservation of the chiaroscuro prints. The prints from the Niccolo Vicentino workshop had a high lead content. The inks typically had a low vehicle-to-pigment ratio, tending to turn gray around the edges, due to the presence of lead sulphide. Verdigris corrosion was also a common problem, as found on “Christ Healing the Paralytic Man” by Giuseppe Niccolo Vicentino, as well as 13 other prints from the same workshop. Typical copper-induced paper degradation included yellow-brown halos around inked areas and cracks in the paper.
Fading and discoloration were major problems for the organic colorants, such as indigo and the yellow lakes. Morenus compared copies of Ugo da Carpi’s “Sybil Reading a Book” in the British Museum and the Library of Congress, finding clear evidence that the indigo in the British copy had faded. The British Museum had confirmed the presence of indigo through Raman spectroscopy. At least 8 of the prints were found through XRF to have high levels of calcium in the same areas where indigo had been identified, suggesting the presence of chalk-based lakes. Organic greens had shifted to blue or brown where organic yellows had faded or become discolored.
The presenter concluded with suggestions and caveats for conservation treatment. First, she advised conservators to exercise caution in aqueous treatment, in order the preserve the topography of the prints. The woodblock creates a relief impression in the paper, and the layering of the inks adds another level of texture that might be altered by humidification, flattening, washing, or lining treatments. The low binder content also makes the inks more vulnerable to saponification and loss during alkaline water washing. Morenus warned that the hydrogen peroxide color reversion treatment for darkened lead white would be particularly risky, because the white lead sulphate end product has a lower refractive index than basic lead carbonate original pigment. This means that treated lead white becomes more translucent, and the lower “hiding power” shifts the tonal balance of the print to appear darker overall.
For exhibit recommendations, Morenus suggested that we should always expect to find fugitive organic colorants in chiaroscuro prints, so exhibit rotations should be planned accordingly. Maximum exhibit conditions should be 5 foot-candles (50 lux) of visible light for 12 weeks of exposure, no more often than every three years. She also indicated that overmatting should be avoided to reduce the risk of differential discoloration.
During the Question and Answer period, Morenus clarified the color order used in printing. Some prints were inked from dark to light, but most were printed with the lightest color first.
I thoroughly enjoyed learning about these beautiful prints, but I think that the discussion of the lead white conversion treatment-induced refractive index shift was the most important “take-away” from the presentation.
British Museum, 20-21st April 2015. Symposium on the care and conservation of human remains with a focus on natural mummies.
How comfortable do you feel surrounded by skeletal remains and natural mummies? The symposium hosted by the British Museum left no areas unturned, from the excavation, conservation and curation of natural mummies, and allowed participants of the day access to natural mummies from their extensive collection.
Daniel Antoine, curator of physical anthropology at the British museum, kicked the day off by considering the legal aspects and ethics in the curation of human remains. A huge 91% of the British population appears to be on side with the display and retention of human remains by museums for research purposes, but there are obligations. The display of human remains less than 100 years old does not sit well on some peoples’ shoulders and named remains attract a similar apprehension. This seems at odds with the display of Egyptian mummies that often have their names inscribed on their cartonnages, but maybe the longevity of these mummies makes their display more palatable.
Derek Welsby, assistant keeper in archaeology of Sudan and Egyptian Nubia, and Daniel Antoine followed with a description of the problems involved in the excavation of skeletal remains and natural mummies from their resting places, in this instance, the fourth cataract of the Nile Valley, Sudan. Skeletal remains dating back to the Neolithic period were uncovered from various burial sites and natural mummified bodies from the medieval period were excavated from this previously understudied region of The Sudan. Over a 1000 skeletal remains and naturally mummified bodies were donated to the British Museum by SARS, the Sudan Archaeological Research Society via the National Corporation for Antiquities and Museums of Sudan. For the past two years the British Museum have been undertaking research into population genetics and the pathology of these Nilotic human remains. A human remains database has been created by the museum that will open up the research potential of these people, negating the need for physical interaction and reducing the risk of damage to the bodies.
Barbara Wills, conservator of organic artifacts at the British museum had the job of surveying the mummies. She examined, photographed, assessed the needs of each individual and established a strategy for stabilization. Barbara was in the wonderful position of receiving a Clothworkers Conservation Fellowship that allowed her to put all of her time and effort into the development of a passive method of stabilization and display. Barbara has a wonderfully calm demeanor that exudes respect for humanity. I don’t know whether she had this disposition before she started work on the mummies or whether the mummies taught her this respect on her travels with them. A workshop on the second day of the symposium allowed for the exploration of these stabilization and display methods that Barbara developed during her fellowship and shall be discussed later.
The life of the Nilotic people is unraveled not only from research into the human remains but also by analyzing the textiles and leather excavated along side the bodies. Caroline Cartwright, from the department of conservation and scientific research at the British Museum, gave an excellent talk about the problems and pitfalls of trying to identify materials that may have been in close proximity to soft tissues and Anna Harrison, a senior conservator of organic materials at the British Museum, followed with the issues surrounding the conservation of archaeological textiles. Of particular fascination was the discovery of human hair mats that were treated like dry archaeological wool and the revelation that an imprint of a textile may be present on a skin sample even if the textile no longer remains.
A lunch break allowed time for a visit to the temporary exhibition: Ancient Lives, New Discoveries, where a number of the curatorial issues discussed in the morning session could be seen in practice. The use of explanatory and contextual information was well presented and tasteful lighting within display cases offered respect to the mummies.
Nancy Odegaard from the University of Arizona and Arizona State Museum resumed proceedings by discussing the post-excavation deterioration of the Chinchorro mummies of Arica, Northern Chile. The storage facility for the mummies is far too hot and humid and the mummies are acting as the environmental buffer. Deterioration was manifesting itself in the form of a ‘black ooze’ emanating from the bodies. A quick, easy and inexpensive solution to this problem was the introduction of some locally sourced hygroscopic wall coverings that took over the work of attempting to stabilize the environment.
A Sudanese mummy offered Joanna Russell, from the department of conservation and scientific research at the British Museum, the opportunity to use HPLC to investigate the dyes present in colourful textiles adorning the body. All dyes identified, Pseudopurpurin, Purpurin, Alazarin and Indigotin were used in Egyptian dying.
Marie Vandenbeusch, a project curator in the department of Ancient Egypt and Sudan at the British Museum, used infrared reflectography on a tattoo found on the upper leg of a naturally preserved female mummy from medieval Sudan. The tattoo represents one of the earliest known surviving examples of a tattoo from this period and region and represents a Christian monogram of the Archangel Michael. (images found at: http://blog.britishmuseum.org/2014/06/26/tattoos-in-ancient-egypt-and-sudan/) Of particular interest was the fact that it was mainly women that were tattooed and this particular tattoo was hoped to provide protection under Michael, the patron saint of Nubia.
Heather Bonney, a collections manager for human remains and repatriation at the British Museum, discussed the general curation and digitization of the human remains collection at the British Museum. Human remains can be acquired via three different routes. They may have been purchased anatomical specimens, ethnographic collected remains or they may be from an archaeological context and each requires different legal documentation for their storage and display. Osteoware software and the Oracle Word database were then discussed for the digitization of the collection. (The Oracle Word database is really tailored towards a British archaeological context).
Finally but certainly not least Emily Taylor and Simon Prentice, museums assistants at the British Museum, gave a superb talk about the safe packing and transportation of human remains. It is essential that all remains are carefully photographed before travelling so they can be referred to after unpacking and the person unpacking the remains must be able to deconstruct and replicate the packing easily so it must be simple but effective. Cellite honeycomb boards were used instead of the old-fashioned mummy boards but beware, do not use the Aluminium version of the boards if the mummy is to be sent for a CT scan as the Aluminium interferes with the scan.
Barbara Wills lead the second day of the symposium. She gave us an insight into the development of an inexpensive, simple, reversible, reliable and relatively quick way of displaying human remains for display or research using Plastazote LD33 and LD45 (polyethylene foam), PTFE tape and sheets (polytetrafluoroethylene, plumbers tape) and Polyester wadding.
Plastazote LD45 covered in Tyvek (a spun bonded olefin material that is inert and gas permeable) can be placed on a cellite board onto which the mummy can be displayed. Plastazote LD33 can be cut into shape and pinned to the board, offering support or preventing movement.
Fig. 1 Artificial bones being supported or held in place by Plastazote LD33.
There should be at least a 10cm boarder to the outside of the human remains to prevent damage to any delicate parts when being transported. Barbara demonstrated a quick and easy way of cutting the plastazote into shape using only a big sharp knife. (Figure 2)
Fig. 2. Fold the strip of Plastazote LD33 and cut on the outside of the fold. Cut as deeply or as shallow as needed to create the supporting structure.
The wonderful thing about PTFE is that it adheres to itself through static attraction only. There is no adhesive involved! PTFE sheet can be wrapped around Polyester wadding that has been fluffed, to create really soft ‘pillows’. Really soft ‘pillows’! ‘Pillows’ of the size and shape you require. (Figures 3 and 4)
Fig. 3. Barbara Wills demonstrating the construction of a small PTFE and Polyester wadding ‘pillow’ used for the support of a very fragile part of a body.
The PTFE polyester wadding ‘pillow can be pinned directly to the board or supported in a cut piece of Plastazote LD33 to give extra support. This was named ‘The Mushroom’.
Fig 4. Barbara Wills demonstrating the construction of a skull mount using fluffed Polyester wadding wrapped in PTFE sheet. Barbara made a sausage shape that she then curved round and pinned in place. Plastazote LD33 cut into wedge shapes can be pinned at each pole position to offer additional support.
A sheet of PTFE could be pinned to a Plastazote LD33 surround creating a hammock like structure. This could support very fragile parts of a body that would not survive using a conventional support.
PTFE tape can be wrapped directly around a fragile part of a body that needs to be held together and, as there is no adhesive involved it is completely reversible. When the static property of PTFE could potentially be damaging to a fragmented part of a body or where hair is present then the static can be eliminated quickly by shooting a beam of electrons at the material from an antistatic gun. Conventional tying can then be used to hold the PTFE in place.
Barbara Wills was apologetic to those attending the workshop as she considered her ideas simple. However, the simple ideas are sometimes the ones that are overlooked and missed. Barbara has developed a system that can stabilize and display any human remains without the need for chemicals and consolidants. The mummies we observed had been displayed in a manner that negated the need to move them for research purposes. However, if a research project did come along that required the movement of any of the bodies then this could be easily achieved without too much intervention, minimizing any damage that might occur to these priceless human remains.
Author: Julie McBain, MSc student at Cardiff University.
Photographs: Renata Peters, Lecturer, University College London
2015 Annual Meeting EMG/OSG/VoCA Joint Session: Collaboration with Artists in the Preservation of Artistic Heritage
The Electronic Media Group (EMG) and Objects Specialty Group (OSG) of the American Institute for Conservation (AIC) are joining with Voices in Contemporary Art (VoCA) to present a special joint session on the topic of collaboration with artists at the upcoming AIC Annual Meeting in Miami, FL, May 13-16, 2015.
Recognizing that artists have a stake in the legacy of their work has shifted conservation practice in recent decades. Moreover, it is possible to maintain a critical art historical discourse while also integrating the voices and opinions of the artists within preservation strategies for their artworks. The mission of organizations like VoCA has been guided by the possibilities of this shift. Increasingly, these practices are flourishing at major museums across the country.
Many conservators are actively seizing opportunities to interview and otherwise interact with artists. This session provides a venue for novice and experienced practitioners alike, from conservation and allied preservation-related fields, to share their outlook on and practice of collaboration with artists and their associates.
The sessions will be take place on Thursday, May 14, from 2pm-5:30pm, and Friday, May 15, from 8:30am-12:30pm. A ½ hour discussion will be held at the end of each day’s talks, led by Jill Sterrett on Thursday and Glenn Wharton on Friday.
The full schedule for the joint sessions is available here.
Blog at AIC's 2015 Annual Meeting and win!
Each year we receive feedback from colleagues who couldn’t make it to the annual meeting that write-ups of the talks posted here on www.conservators-converse.org were interesting and informative. For the past few years we had so many fabulous concurrent session that even those present at the meeting couldn’t attend all the talks they were interested in and found that they could get a taste of what they missed using the blog. Our blog sees a huge increase in traffic due to annual meeting posts with almost 600 unique visits per day. We know that many colleagues are looking forward to hearing more about the conference and hope that some of you will volunteer and share your thoughts from the meeting.
How To Sign-up:
Signing up is easy. Just click on the link below to access the signup spreadsheet:
https://docs.google.com/spreadsheets/d/1pNEluroUP6aP_Degsdvy0Ns7PMpximU2XDYUkGHia-A/edit?usp=sharing
There is a separate tab down at the bottom for each SG or session. Next, input your name and email next to the talk you are interested in covering. Easy! The limit for signup is two talks so that nobody feels overwhelmed.
What’s In It For Me?
Many people take notes at the talks and writing them up is a great way to organize your notes and thoughts while doing something great for your colleagues and the field. Speakers are often grateful for the feedback. And, yes there is something in it for you…all volunteers who complete two posts will be entered into a drawing to win a FREE 2016 ANNUAL MEETING REGISTRATION!
What do I need to know about Blogging?
Not much! All volunteers will be sent AIC’s Guidelines and Blogging Tip Sheets. Writing a good blog post can take some time but covering a just two talks is very manageable. Here are a few things to know:
- You do not blog in real time so you don’t need a laptop or internet access at the conference– the best way is to take notes and then write up your thoughts later (ideally by the end of the conference or shortly thereafter).
- You need not be an experienced blogger nor particularly tech savvy. The WordPress blog format is extremely easy to use and any necessary hand-holding will happily be provided to make you feel comfortable online. If you can send an email – you can create a blog post.
- There is no pressure to be particularly witty. Active tense, first-person and personal style are all encouraged in blog posts – this is a chance to free yourself from the writing constraints of condition reports! While all posts should be professional overall, the tone is somewhat between reporting and “what I did over my summer vacation”. The best posts tell why you were interested in the topic and what you learned, you aren’t expected to be writing the speaker’s postprint so you don’t need to capture every detail. The goal is for readers to learn more about the talk than they would gain from the abstract. Tips and Guidelines will be provided for all volunteers.
- In addition to the talks we also value reviews of the workshop, tours, receptions and other associated events and sessions.
I Have Some Questions Before Signing Up – Who Do I Talk To?
Contact Rachael Arenstein, AIC’s e-Editor either via email or using the Email AIC’s e-Editor box in the footer of this blog.
Get Ready for AIC's 43rd Annual Meeting, Emerging Conservators!
Hard to believe, but AIC’s 43rd Annual Meeting in Miami, FL is just around the corner! And ECPN wants to make sure you are aware of the many opportunities to get involved and connect as an emerging conservator at the conference. Below, we’ve highlighted just a few of the activities and events that we think will be of particular interest to emerging professionals. Looking forward to seeing you soon in Miami!
**To register for the ticketed events listed below, please visit AIC’s website: http://www.conservation-us.org/annual-meeting/register#.VT_hkMe7lVg
Before you go…
Get your head in the game and take a few minutes to review Tips for Attending Conferences compiled by ECPN for the AIC’s 40th Annual Meeting in 2012. Download this and other resources for emerging conservators from our newly launched page on the AIC Wiki:
http://www.conservation-wiki.com/wiki/File:Tips_for_Conference.pdf
Also, consider signing up to write a blog post or two for Conservators Converse, summarizing a General or Specialty Group Session. This is a great way to engage more deeply in a talk, connect with a speaker, and provide valuable information to colleagues unable to attend the Annual Meeting. If you are interested, sign up for no more than two talks through the Google Docs spreadsheet: https://docs.google.com/spreadsheets/d/1pNEluroUP6aP_Degsdvy0Ns7PMpximU2XDYUkGHia-A/edit?usp=sharing. Contact Rachael Perkins Arenstein, AIC e-Editor, at rachael@amartconservation.com for more information and to receive a log-in for the blog. As an added incentive, everyone who completes two blog entries will be entered in a drawing to win a free 2016 Annual Meeting registration!
Pre-conference Activities
ECPN-CIPP DISCUSSION PANEL ON PRIVATE PRACTICE
WEDNESDAY, APRIL 13, 4-6PM
JASMINE
This joint event with the Emerging Conservation Professionals Network (ECPN) and Conservators in Private Practice (CIPP) will feature a panel of speakers, both established and emerging conservators in private practice, who will discuss the benefits, challenges and fine points of establishing a private practice as an emerging conservator. The panelists include: Ana Alba, Cynthia Kuniej-Berry, Lara Kaplan, Stephanie Hornbeck, and Emily McDonald-Korth. After an initial set of moderated discussion topics, there will be time for questions and comments from the audience.
ECPN-CIPP HAPPY HOUR
WEDNESDAY, APRIL 13, 6-8PM
JASMINE
The ECPN-CIPP joint discussion panel on private practice will be immediately followed by our annual Happy Hour, allowing attendees to continue conversations and network in a less formal setting.
WIKI WORKSHOP
WEDNESDAY, MAY 13, 9AM-5PM
ORCHID B-C
The Wiki Workshop will help you get more comfortable with Wikis and also provides a way to give back to our conservation community! Whether you are new to wikis or are looking to learn advanced functions, this workshop will provide guidance, examples, and the opportunity to immediately put into practice what you learn. Basic coding as well as tips for formatting, images, automation, and smoother workflows will be covered. Participants will have an opportunity to practice their new skills on AIC’s Knowledge Base wiki, the Museum of Fine Arts’ CAMEO, NCPTT’s Preservapedia, and SPNHC’s Best Practices wiki, as well as an open “hackathon” for organizing and generating new content. Participants should bring a laptop with wireless capability; plugging strips will be provided.
This is a ticketed event and registration is $39, which includes a boxed lunch.
CIPP WORKSHOP: PRACTICAL SOLUTIONS FOR RUNNING A SUCCESSFUL BUSINESS
WEDNESDAY, MAY 13, 11AM-3PM
ORCHID
This workshop will focus on three main areas of running a successful private practice: 1) Accurate estimating; 2) Streamlined documentation and billing; and 3) Outreach and marketing update, including tips for producing videos and using blogs.
The workshop will include lots of time for questions and participation and it is intended for both established and emerging conservation professionals. All three subjects are planned for future CIPP webinars as follow up to enhance the learning process and to make the information available to all CIPP members.
This is a ticketed event and registration is $39.00 for CIPP members and $79.00 for non-members, which includes a boxed lunch.
INFLUENCE FOR IMPACT: LEADERSHIP STRATEGIES FOR COLLECTIONS CARE PROFESSIONALS, ORGANIZED BY THE COLLECTIONS CARE NETWORK (CCN)
WEDNESDAY, MAY 13, 9AM-4PM
HIBISCUS B
Conservation and collection care professionals are often called on to lead projects without the organizational power to make decisions. Participants will learn influencing skills, situational leadership techniques, and how to use the art of diplomacy to make a personal difference in value for their organizations or clients. Bob Norris, a management consultant who is deeply familiar with conservation issues will be joined by a mid-career collections manager and an emerging conservator to foster discourse about situational leadership at different points in one’s career. Key concepts will be developed through multiple interactive exercises.
This is a ticketed event and registration is $139.
During the Conference
ECPN SPEED NETWORKING LUNCH
SATURDAY, APRIL 16, 12-2PM
RIVERFRONT CENTRAL
Since it was so successful last year, ECPN is hosting a second annual speed networking lunch on Saturday, May 16th, aimed at conservators in all stages of their careers. From 12 -1pm, attendees are invited to lunch and network informally while from 1-2pm they will engage in 15-minute networking sessions to discuss a topic of their choice, which may include research interests, career path advice, or resume review.
Please join us! Signup is available online through AIC’s annual meeting website – when you register by May 1st, you’ll be asked to fill out a questionnaire that will allow ECPN to match you with your preferred type of professional. After May 1st, matches that correspond to indicated preferences cannot be guaranteed.
This is a ticketed event and registration is $20, which includes lunch.
ATTEND GENERAL AND SPECIALTY GROUP BUSINESS MEETINGS
We know this means getting up early after a fun night of socializing with colleagues, but it’s worth the effort! Attending business meetings is an important way to stay informed about the state of AIC, your specialty group, and our profession. These meetings will help you better understand how AIC operates and give you an opportunity to express you questions and concerns. And remember, someday it may be you at that podium!
Check your conference program or Sched for specific business meeting times and locations.
CALL FOR NOTETAKERS: LIBRARY COLLECTIONS CONSERVATION DISCUSSION GROUP
SATURDAY, MAY 16, 2-3:15PM
TUTTLE/MONROE
This Library Collections Conservation Discussion Group (LCCDG) will explore various methods of outreach. Which channels work best to communicate knowledge and resources? Which best capture community interest? LCCDG is looking for volunteers willing to take notes during the small group discussions during this session. If you are interested in helping out, please contact one of the co-chairs.
Co-chairs, Library Collections Conservation Discussion Group:
Danielle Creech
Associate Conservator and Manger
ECS – Midwest
dcreech@hfgroup.com
Jacqueline Keck
Student and ECPN Liaison
jnknqb@mail.umsl.edu
Anahit Campbell
Book Conservator and Conservation Science Graduate Student
anahitmarina@yahoo.com
Post-conference Activity
ANGELS PROJECT
SUNDAY, APRIL 17, 9AM-4PM
HISTORY MIAMI
History Miami is South Florida’s premier cultural institution committed to gathering, preserving, and celebrating Miami’s history through exhibitions, city tours, education, research, collections, and publications. History Miami’s offsite facility is 12,000 square feet of mixed climate controlled storage space. It houses a variety of the museum’s collections such as the outboard boat and motor collection, aviation collection, archeological materials, and the Whitman Family collection. The building was acquired by the museum in 1990.
The facility is located 15-20 minutes north of the museum and is unstaffed. The goal for the 2015 AIC Angels Project volunteers is to assist in improving the space, and the collections it houses, as well as consulting on ways in which to upgrade the facility conditions. The facility has a high dust level and attendees may be subject to warm environments. To volunteer, please contact Ruth Seyler at rseyler@conservation-us.org.