Preview of STASH Storage Tips session in Miami

STASH_logoSafe storage for collections is one of the primary goals of preventive care for collecting institutions, and individuals charged with collections care and cultural institutions often face challenges in designing storage and support systems for individual items or collections. There are few tasks more concrete and practical than devising a storage mount that preserves an object while making efficient use of an institution’s human, financial and material resources. Constructing a successful storage solution requires numerous choices regarding materials, techniques, time and skill.
In May 2014, FAIC, with funding from the Samuel H. Kress Foundation, launched STASH (Storage Techniques for Art, Science and History collections), a web-based resource to share well-designed storage solutions. The site contains the original entries from the printed text, Storage of Natural History Collections: Ideas and Practical Solutions, originally published by the Society for the Preservation of Natural History Collections (SPNHC), and has begun receiving new submissions, including storage projects that were presented last year at the first STASH Flash session as part of AIC’s 42nd Annual Meeting. The website project is interdisciplinary and the site’s editorial board is composed of representatives from a range of allied organizations
The 2015 STASH Flash session to be held at the Miami meeting on May 13, 4:30 – has an exciting lightening round of tips lined up.  Tips presented at the session will be formatted and appear on the www.stashc.com website after the meeting.  We hope that you will join us to kick of the meeting with a practical take on storage and rehousing.  Read on to see what is in store….
OVERSIZE OBJECTS
Contributor(s): Angela Andres & Laura McCann
Institution: New York University Libraries, Barbara Goldsmith Preservation and Conservation Department
Collection Type: Rolled Archival Materials
This hanging housing system is designed for oversize low-use rolled items. Objects too large for flat files or unlikely to be accessed often can be rolled around an archival tube and suspended with S-hooks from cage in stack areas (or eye-hooks may be secured into wall if cage is not available). Pressure-mounted Ethafoam bumpers support the tubes and protect the rolled objects from pressure against wall or cage. S-hooks and bumpers can be easily shifted or removed as necessary.
 
Contributor(s):Andrew Hare
Institution: Smithsonian Institution, Freer Gallery of Art and Arthur M. Sackler Gallery
Collection type: East Asian Paintings/Scrolls
Of great concern for the preservation of East Asian paintings is the damage caused by rolling scrolls around small diameter roller rods, a problem that typically results in severe creasing and pigment loss. This inherent vice in the design of Chinese and Japanese hanging and handscrolls can be greatly alleviated with the addition of a roller clamp, known in Japanese as a futomaki soejiku or simply futomaki. This roller clamp is closed around the roller rod of the scroll to at least double the diameter of the scroll when rolled. This simple and functional solution has the disadvantages of being made from an acidic, off-gassing l wood, can be quite heavy and is usually difficult and expensive to obtain in the West. Two alternative options are preservation rollers, developed within the Freer and Sackler Galleries’ East Asian Painting Conservation Studio. They are made from folded Mylar (polyester sheeting) or Ethafoam tubing covered with Stockinet. The Mylar preservation roller is best for handscrolls and smaller hanging scrolls. The Ethafoam preservation roller works best for larger scrolls. Both preservation rollers are made from inert, lightweight materials that are readily available in the West. With the instructions provided, conservators, volunteers, interns and fellows can easily produce these preservation rollers at a relatively low cost and greatly improve storage conditions for East Asian scrolls.
 
Contributor(s): William Bennett
Institution: Smithsonian Institution Archives, Conservation Specialist
Collection type: rolled oversize graphic recordings placed in a custom housing
Items of an unusual shape or size perpetually pose problems of storage and access for archives. One recent example from the Smithsonian Institution Archives is a collection of six rolls of oversize drawings—a set of graphic recordings of planning sessions, which ultimately resulted in the formation of the current strategic vision of the Smithsonian. Neither flat nor offsite storage was possible due to the unusual dimensions, necessitating a custom housing that would remain in the Archives’ onsite storage. The drawings were wrapped around archival cores fitted with corrugated board feet to increase stability and protect the bottom edges; these rolls were placed into a custom two-piece box, made from more corrugated board. Both the lower portion and the lid are composed of two pieces attached with mitered flaps, with each piece pre-scored to ensure clean folds. Time will tell whether this housing solution functions as well as hoped. While this solution was not ideal, it is effective and was an excellent opportunity to experiment with custom enclosures.


BOXES & SHELVES
Contributor(s):Jennifer Lewis & Nancy Lev-Alexander
Institution: Library of Congress/ Conservation Division / Head, Collections Stabilization Section
Collection type: Pre-Columbian inorganic ethnographic items
The Library of Congress holds relatively small but highly significant collections of 3-dimensional artifacts from the J.I. Kislak Collection that present challenges for storage and research use. Unlike museums which often have customized furnishings and specialized staff required for safe storage and handling, the Library must accommodate these objects among its standard shelving and provide housings that protect the object when handled by curators or researchers with a wide range of object-handling experience and skill. Staff from the Collection Stabilization Section have designed a storage solution based on customized inner fittings applied within paperboard boxes that were made either by hand or on automated equipment depending on size. The inner fittings created of safe materials such as alkaline board, polyester batting, Ethafoam planking, polypropylene fabric, and Tyvek, provide support and cushioning around the object while creating malleable cavities or drop or removable walls that allow easy viewing and access to the object. This presentation will demonstrate how this housing solution has been customized to provide protection for a wide range of Library objects. Additional information will demonstrate strategies for protecting larger pre-Columbian ceramic objects without full boxing within gasketed cabinets. The same housing solution has also been applied to artifacts from the Alan Lomax collection including sound recording equipment and other tools of his ethnographic sound recording work.
 
Contributor(s): Stephanie Gowler & Susan Russick
Institution: Northwestern University Library
Collection Type: Housing objects on library shelving
As a purpose-built library, Northwestern’s shelves are integrated into the structure of the building.  This means we can never adjust the position of the shelving units. Irregularly sized or shaped materials still need to fit in sequence in the collection. Examples include letters written on petri dishes which must fit into a document box with other correspondence, a scroll that needs to be stored vertically on the bookshelf, and puppets from a 1960s television show.  Our protocol begins with compiling a reference sheet of shelf sizes and the maximum sizes of boxes that can fit on those shelves. Labeling preferences for each curator are also recorded.   The exterior of boxes are standardized while the interior is customized. Curatorial and use patterns also influence housing decisions.  This presentation will show housings used for books, papers and objects at Northwestern.
Contributor(s):Angela Yvarra McGrew
Institution: Cantor Arts Center, Stanford University, Contract Conservator
Collection type: Archaeological and ethnographic art, from Africa and the Americas
The goal of the project is to re-house all of the African and Ancient American Collection to create layers of visibility with researchers in mind so that direct handling is only necessary in special cases. Open shelving requires that each box will have a lid. A window is provided to prevent packing being taken apart to confirm the contents. The boxes take into account the potential for earthquakes in this region but are not meant for travel/shipping.
 
Contributor(s): Rebecca Newberry
Institution: Science Museum of Minnesota
Collection type: Drop-front boxes for Natural History objects and specimens
Custom made drop front boxes are ideal for housing fragile objects stored on open shelves. The front of the box is designed to fold open from the bottom, allowing free access to the object stored within. The drop front has flaps which are fastened to the side of the box with envelope-style string and button closures. This system is more reliable than adhesive hook and loop (Velcro) fasteners commonly used. The boxes can be made from either corrugated cardboard or corrugated plastic.
 
Contributor(s): Rebecca Newberry
Institution: Science Museum of Minnesota/Conservator
Collection type: boxes for natural history
Double scored folds in corrugated plastic boxes with attached lids: Corrugated plastic boxes with attached lids are useful for frequently accessed objects. Since the lid cannot be separated from the box, it cannot be misplaced. It is important to allow the attached lid to fold back completely for best access. The lid fold is scored along the interior and the exterior flutes. This double scored fold allows the lid to fold back, leaving the top of the box clear for object access.
 
Contributor(s):Gretchen E. Anderson & Deborah G. Harding
Institution: Carnegie Museum of Natural
Collection type: Microclimate storage for archaeological metals
The CMNH Anthropology Department is in the beginning phase of a major NEH funded reorganization of collections storage. One of the first projects is to improve storage conditions for small archaeological metals. Thirty years ago these had been placed in plastic bags and Rubbermaid™ containers with silica gel (which had not been reconditioned since the original storage was developed). Plastic bags and polyethylene foam padding were all that protected these fragile objects. Some were stored in Masonite™ and wood drawers, with only a thin layer of foam between them and the wood. The new storage project was the perfect opportunity to apply new methods. The new system had to provide better physical support and organization for the collection, as well as buffering fluctuating relative humidity and protecting the sensitive collection from contamination. The new storage solution is compact, simple and cost effective.
 
DRAWER SOLUTIONS
Contributor(s): Alison Reppert Gerber
Institution: Smithsonian Institution, National Museum of African American History and Culture
Collection type: 16” lacquer transcription audio discs
In the fall of 2014, the National Museum of African American History and Culture prepared 24 audio discs of varying formats for travel in order to digitize their rare audio content. Five of these discs exhibited varying degrees of delamination and required innovative packing and long-term storage solutions. First, we created a simple clamshell-style box from archival blue board. Using Volara® polyethylene foam cut into circles (6” in diameter) and wooden dowels wrapped in Teflon® tape, we were able to secure the disc in the box while suspending the grooved portion of the disc, which was the primary area suffering from delamination of the nitrocellulose lacquer coating. By adding Velcro® closures to the exterior of the box, it could safely be transported vertically to reduce surface tension on the disc. All five discs were given their own enclosure and then placed into one large box for stability and transport.
 
Contributor(s): Angela Andres & Laura McCann
Institution: New York University Libraries, Barbara Goldsmith Preservation and Conservation Department
Collection Type: Panorama photographs and/or maps
A simple-to-construct modular system for dividing flat file drawers to house panorama photographs (or other long/narrow items such as maps or broadsides). Dividers of E-flute board or 20-point board are held in place by panels of the same type of board and can be fitted to either x or y orientation. Easy to remove, add, and alter divider sections, this is an easy and low-cost solution to the difficulty of housing these odd-shaped items.
 
Contributor(s): Angela Andres & Laura McCann
Institution: New York University Libraries, Barbara Goldsmith Preservation and Conservation Department
Collection Type: ephemera
Housing for a collection of political buttons using stacked placards of Volara-lined B-flute board. B-flute board is lined on both sides with thin Volara (tacked at corners with linen thread, eliminating the need for) and buttons are affixed to the placards with their own fasteners or, when fasteners are missing or damaged, placed in small poly zipper bags and tacked to placards with linen thread. Placards are stacked inside standard archival document boxes that integrate well in existing shelf space.
 
Contributor(s): Allison Rabent & Jane Klinger
Institution: United States Holocaust Memorial Museum
Collection Type: Drawer Grid, textiles
As in many other museums, much of the textile collection at the United States Holocaust Memorial Museum is stored in flat-file drawers. In preparation for moving the collection to a new facility in 2017, current storage methods are being re-evaluated.  A new housing system was needed to organize and provide stability and protection for armbands and badges of various shapes and sizes. Part of the challenge was to ensure the artifacts could also be housed and organized by accession number. In order to address these issues, an adjustable grid system was created. Dividers made of corrugated blue board were cut to size and modified to create a stable grid that could be placed within the drawer, allowing the textiles to rest safely within individual squares. By adjusting the size and number of dividers, this system can be easily modified to accommodate for storage of a variety of flat media.
 
DOCUMENTATION
Contributor(s): Stephanie Gowler & Susan Russick
Institution: Northwestern University Library
Collection Type: Library and Archival Materials
This presentation will describe the use of the smartphone/tablet app Notability to facilitate documentation and labeling during a large-scale paintings collection survey. Each painting was photographed with the smartphone/tablet camera, imported into Notability, and annotated with a color-coded key to indicate major types and levels of damage. These annotated images were then incorporated into an existing documentation database. Print-outs of the annotated images were attached to wrapped paintings as caution labels, alerting anyone handling the paintings to the most vulnerable areas. This proved to be an efficient way to create on-the-fly condition notes and produce a quick visual reference for future conservators. This method could easily be adapted for triage in disaster response situations, large-scale surveys across multiple storage locations, or anytime there is a need for labels cautioning handlers about an object’s condition.

Health & Safety and CIPP Call for Studio Design Submissions

 
 

Have a question about selecting a fume extractor for your studio? Or how you can safely solder or spray paint indoors? Or what studio work is never smart to do inside an apartment or condo? Have a basement or garage home studio renovation or DIY example you’d like to share?
This year in Miami, CIPP and the Health & Safety Committee will be hosting the Lunchtime Lecture, Studio Design Challenges–Creating a Safe and Practical Space (Wednesday, 12-2pm), which will be led by architects and engineers from EwingCole.  Organizers are requesting questions and real-world examples from individuals operating private studios to be included in an extensive Q&A period following the formal presentation.
AIC members are invited to submit your studio design questions as well as examples of creative ways for overcoming challenges that you may have already implemented in your own space; examples from both home and commercial spaces are welcome.  Submissions should be related to health and safety issues and can include, but are not limited to: fume extraction, chemical storage, fire/electrical safety, and ergonomic workspaces. For example, you may have created or seen a DIY exhaust system and would like to know if it is actually effective or potentially hazardous!
Please indicate whether you would like your name included for credit, or whether you want to remain anonymous.  For photos, also include a brief description and applicable photo credits.    By providing your questions and/or examples, even if you request your name not be used, you are agreeing to include them in the lecture as well as any published materials.  Submissions are welcome from all AIC members, but priority during the presentation will be given to individuals registered for the lecture; those not included at the meeting may be addressed in post-conference materials.
Please send submissions as soon as possible, but no later than March 1, 2015, to Health & Safety Chair, Kathy Makos, kamakos@verizon.net.
You don’t have to wait until May to get answers!  Members of the EwingCole design team will try respond to questions posted in the comments below or may contact you to discuss your submission if you provide your contact information.
  

Call for Papers: Collaboration with Artists in the Preservation of Artistic Heritage: Theory and Practice

The Electronic Media Group (EMG) and Objects Specialty Group (OSG) of the American Institute for Conservation (AIC) join with the International Network for the Conservation of Contemporary Art –North America (INCCA-NA) to call for papers for 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 INCCA-NA 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 seeks to provide 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.
Topics to address may include but are not limited to:

  • The AIC Annual Meeting theme of “Practical Philosophy or Making Conservation Work” What are the practical considerations in collaborating with artists? How does theory translate into practice and how does practice inform theory?
  • What is the value in collaborating with artists?  How has practice supported this?
  • Interview tips and techniques.
  • Collaboration with artists beyond the interview.
  • Case studies.
  • Collaboration with artists in the preservation of ephemeral materials, obsolete media, and installation art.
  • Finding time and resources for an artist interview program.

 

How to Submit an Abstract

Email your abstract in Microsoft Word (NOT as a pdf) to Ruth Seyler, AIC Membership and Meetings Director, at rseyler@conservation-us.org.
Please send an abstract of 500 words maximum, along with a bio of 300 words maximum per author to Ruth by Wednesday, September 10, 2014. In the case of multiple authors, please list all authors and include an email address for each author. If you have questions or would like to discuss an idea for a session, please contact Ruth Seyler.
You may also submit your abstract for consideration for other sessions at the AIC Annual Meeting, as detailed below.
Please indicate your first choice session for your submission as “EMG/OSG/INCCA-NA Joint Session”.
 
Session Types
Abstracts will be considered for the following session types.
General Sessions – General Session papers must specifically address the meeting theme.  Recent efforts to provide a variety of session formats will continue and authors accepted for general session presentations may receive requests to participate in lightning rounds or concurrent general sessions.

Specialty Sessions – Specialty Session papers are encouraged to address the meeting theme but may also explore other topics relevant to that specialty. Specialty sessions will include: Architecture, Book and Paper, Collection Care, Electronic Media, Health & Safety, Objects, Photographic Materials, Paintings, Research and Technical Studies, Sustainability, Textiles, and Wooden Artifacts.

Poster Session – Posters may address the meeting theme, but presenters can also address their current research interests. Posters are presented in the Exhibit Hall.
Submission Guidelines

  • You may submit an abstract for a combination of the three session types: General Sessions, Specialty  Sessions, or Poster Session. You may submit your presentation to only one or two sessions if you so choose.
  • If you are submitting a Discussion/Interactive Session, please submit only for that, since the format is not compatible with the other General Session choices
  • Please indicate on the abstract the session/sessions for which you want the paper to be considered.
  • Please limit your choices to three sessions and rank them in order of preference. For example, your preferences could be one of the following:
    • 1st Choice: General Sessions, 2nd Choice: Objects Session, and 3rd Choice: Wooden Artifacts Session
    • 1st Choice: General Sessions, 2nd Choice: Poster Session, and 3rd Choice: Book and Paper Session
    • 1st Choice: Photographic Materials Session, 2nd Choice: Electronic Media Session, and 3rd Choice: Research and Technical Studies Session
    • 1st Choice: Book and Paper Session, 2nd Choice: Book and Paper Session, 3rd Choice: Book and Paper Session
    • 1st Choice: General Sessions – Concurrent Interactive/Discussion Session
  • When listing your three session choices, please remember that if you are interested in a joint session you only need to list that as a single option. For example: if you want your second choice to be the Book and Paper and Photographic Materials Joint Session, don’t list it as either Book and Paper Session or Photographic Materials Session but list it as the Book and Paper and Photographic Materials Joint Session.

42nd Annual Meeting – Book and Paper Group Session (BPG), May 30, “Salvage of Paper Materials from the Flooding of São Luiz do Paraitinga” by Fernanda Mokdessi Auada

 On Friday May 30th, Ms. Fernanda Mokdessi Auada presented an account of the joint salvage effort undertaken by the Nucleus for Conservation of Public Files of São Paulo (APESP) and the Nucleus of Restoration-Conservation Edson Motta, Laboratory del National Service for Industrial Apprenticeship (NUCLEM-SENAI) following the 2010 flooding of São Luiz do Paraitinga, Brazil. Collective gasps went up from the audience as Auada showed photographs of the devastated city. Among the images was the city all but subsumed by the Paraitinga river, and shots of devastating structural damage to the city’s principal church (São Luiz de Tolosa) and its municipal library. 
 

During the flood of 2010, the fall of the city’s principal church
During the flood of 2010, the fall of the city’s principal church

 

Thousands of documents, over 15 linear meters in total, were immersed in the flood waters for over 20 days. The papers related primarily to the population’s citizenship and legal identity, making it vital for conservators to save the information contained in the wet and moldy files. Despite the grave condition of the documents–and the challenge of having virtually no money or trained support staff–the overall salvage was a success, Ms. Auada said.

The documents arrived for salvage in three allotments. The first two allotments were treated manually, using traditional flood damage salvage procedures. First, the documents were separated and air dried flat on top of absorbent paper. The documents were then individually documented and inventoried during dry cleaning, these steps carried out in a dedicated cleaning area. Documents that could not be separated mechanically after drying were separated while immersed in an aqueous bath. Papers soiled with heavy accretions of dirt and mud were washed to recover legibility. The papers were then mended, flattened and rehoused in paper folders and corrugated polypropylene boxes. Incredibly, 95% of the documents in the first and second allotments were recovered.

The third allotment, from the Public Ministry, proved to be more problematic, calling for radical treatment. These documents arrived at the APESP three months following the flood, after having been stored wet and housed in garbage bags. Upon drying the materials, it was determined that the extensive mold damage would be impossible to treat using traditional methods. Representing a “worst-case” scenario, this allotment of 176 files was submitted to decontamination by gamma irradiation. The moldy documents were packed in corrugated cardboard boxes and sent to the Radiation Technology Centre for Nuclear and Energy Research Institute (CTR-IPEN) at the University of São Paulo. While still within the cardboard storage boxes, the documents were dosed for disinfection (not sterilization) at 11kGy. This was the first time this type of salvage procedure had been carried out in Brazil.

Following irradiation, the papers were separated and dry cleaned using brushes. The dry removal of the mold spores proved easier and faster than the first two non-irradiated allotments, with sheets separating easily. Perhaps most importantly, the biohazard was eliminated, eliminating the need to quarantine the documents during documentation and dry cleaning. Ms. Auada described the costs of the treatment as acceptable, even within the project’s meager budget. The irradiated documents will be monitored for long term effects of the radiation, with polymerization of the cellulose being of primary concern.

42nd Annual Meeting – Textile Session, May 30, “Stressed about Pests? A Panel-led Discussion on Integrated Pest Management” Moderators: Bernice Morris, Patricia Silence, Rachael Arenstein.

This session included three presentations on Integrated Pest Management (IPM). The first speaker, Bernice Morris, is the IPM coordinator at the Philadelphia Museum of Art (PMA.)   Bernice said that IPM began in earnest at the PMA in 1990. She has built on this foundation, developing an IPM system consisting of dividing the museum into risk zones, the use of barcoded (numbered) blunder traps (with pheromone lures as needed), and iPhones outfitted with barcode readers. The iPhones scan the bar code on each trap. The pest type and count are entered, and the data is sent to a computer, becoming a row on a spreadsheet. This makes the gathered data accessible for analysis. The number of traps and the frequency of monitoring are dependent on zone type. In addition, all museum staff are now aware of the importance of prevention and vigilance. The staff has a “bug hotline,” and Internet reporting for pest sightings. It is a very low cost system with the exception of the iPhones, and for those with moth problems the pheromone lures are expensive but worth the investment. The textiles in the collection are most vulnerable while moving in and out of the galleries, and the museum. New acquisitions and loans come into the museum wrapped in plastic. They are isolated and examined, and if evidence of infestation is found the objects are treated with low temperature treatment or anoxia treatment to kill all insect life stages of the infestation.
 
Patricia Silence is the Conservator of Museum Exhibitions and Historic Interiors at the Colonial Williamsburg Foundation (CW). As she said it is “the oldest and largest outdoor living history museum in the United States.” CW had always depended on outside pest management professionals. She and her colleagues developed a vision of what a successful IPM plan would accomplish: “prevent harm to people, collections, and buildings, use minimal pesticides, and foster a sense of ownership of the IPM program in the foundation employees.” Due to the complicated interconnected nature of the collection, architecture, landscaping, livestock, commercial entities, and residences, it was determined that it is would be best to have someone who was on the CW staff to manage the IPM. Ryan Jones was hired as the integrated pest management specialist. The IPM has been so successful the program has expanded to include monitoring and treatment of termites. He and an army of other staff members have certification for pesticide application, but housekeeping, routine trap monitoring, and building inspections and maintenance reduce the need for pesticides. A holding room, and freezing and anoxic treatments are used for objects with infestations. The staff can report pest sightings via intranet; identification sheets with common pests are made available with a pest specific follow-up sheet sent after identification. Patricia has taken a holistic approach.
 
Rachael Arenstein is currently the conservator at the Bible Lands Museum in Jerusalem, Israel. However, as a former conservator in private practice she spoke about some of the challenges she noticed with smaller museums that lack IPM plans. She felt that the biggest problem was most often that pest damage is not recognized and is thought to be the natural effects of age or light damage. Rachael pointed out that all museums have some kind of pest problem. Small museum are understaffed, under-resourced, collections are crowded, and if there is an infestation the staff is just “grossed out.” Mistakes are made using inappropriate products and procedures.   Rachael is a member of the IPM Working Group, which grew out of colleagues banding together to learn how to deal with infestations. Over the past ten years Rachael and these colleagues have created an invaluable resource, Museumpest.net. It is everything one might want or need to know about IPM: prevention, monitoring, identification, treatment solutions, and implementation of an IPM plan, and more. Through the site you can join the Pestlist, an e-mail distribution list that allows members to ask questions, and receive answers and advice from museum and preservation professionals, entomologists, and other practitioners.
 
The speakers opened the floor to questions and discussion. The first question was concerned with how to get the staff to “buy into” the importance of protecting the collection. The reply to this was that presentations to staff showing damage, or potential damage were helpful. Unfortunately, it often takes a major infestation to drive home the importance of IPM. Other questions were asked about pheromone traps, how to handle a museum wide dermestid infestation, if there were any lasting effects from the use of Vikane fumigation, and “are crack and crevice” treatments of any use. The answers were helpful, but too lengthy to address here. All roads lead to http://museumpests.net (and housekeeping.)
 
The speakers have posted their presentations on the Museum Pest web-site:
http://museumpests.net/wp-content/uploads/2014/07/AIC-2014-Stressed-about-Pests-Morris-FINAL.pdf
http://museumpests.net/wp-content/uploads/2014/08/AIC-2014-Stressed-about-Pests-Silence-FINAL.pdf
http://museumpests.net/wp-content/uploads/2014/07/AIC-2014-Stressed-About-Pests-Arenstein-FINAL.pdf

42nd Annual Meeting – Paintings Session, May 30, “The Reconsideration of a Reattribution: Pierre-Edouard Baranowski attributed to Amedeo Modigliani” by Elise Effmann Clifford

Elise Effmann Clifford, Head of Paintings Conservation at the Fine Arts Museums of San Francisco (FAMSF), presented a case study dealing with the complex topic of evaluating a painting’s attribution, drawing on the research of psychologists to consider the biases at play when conservators and scholars approach such investigations. The artwork in question was a portrait of Pierre-Edouard Baranowski, which entered the collection of the FAMSF as a painting by Amedeo Modigliani from 1918. After a demotion in attribution in the 1990s, the painting was subsequently reattributed to the artist in recent years. Effmann traced the research trails of both investigations in her talk, evaluating the reasoning of each that led to their opposing conclusions.

Portrait of Pierre-Edouard Baranowski by Amedeo Modigliani, c1918, Fine Arts Museums of San Francisco.  Photo: art.famsf.org
Portrait of Pierre-Edouard Baranowski by Amedeo Modigliani, c1918, Fine Arts Museums of San Francisco.
Photo: art.famsf.org

 
The first of these investigations began soon after the painting entered the FAMSF collection in the early 1980s, when scholars and dealers first raised doubts over the authenticity of the work. These were based on the existence of another portrait of Baranowski by Modigliani in the collection of Robert and Lisa Sainsbury from 1937-1999, and referred to as the ex-Sainsbury painting in this talk. This work has airtight provenance and little doubt over authorship.  It is painted in a style typical of the artist. Two portraits of Baranowski were mentioned in the earliest catalog of Modigliani’s work, but this states both were on canvas, where the FAMSF painting is on hardboard. Only the ex-Sainsbury painting is mentioned in subsequent catalogs. The provenance of the FAMSF painting was unknown prior to 1953, the year the donor purchased the work. A report from the FAMSF conservation department notes an underlying composition of what appeared to by a figure similar to those in an early series by Modigliani. Early restoration treatments to address flaking paint were noted, as was an early campaign of overpaint in the face. Expert opinions were sought, and at least 7 records from dealers and scholars exist in the curatorial file stating they did not consider the painting to be by the artist, that something was not quite right. The FAMSF painting’s lack of technical similarities to the ex-Sainsbury painting, incomplete provenance, its absence in early catalogs of Modigliani, including the irrefutable Ambrogio Ceroni catalogue raisonne, and the frequency of Modigliani forgeries all contributed to a decision to deattribute the painting. This was made official after the painting was taken to England to compare to the ex-Sainsbury painting in 1994.
Prompted by questions raised by the family of the donor, a technical investigation of the painting began in 2011. Effmann found more information on the unusual underlying painting, finding other similar compositions by the artist, also on hardboard. She found other examples of similar paint application, and discussions with conservators and scholars revealed that the artist showed a great deal of variety in his technique. There were several fingerprints found in the paint, ignored in the earlier investigation. Effmann also traced the provenance almost back to the artist. Current experts were consulted in light of the new information, and the attribution to Modigliani was reinstated.
Effmann notes that in hindsight, the authenticity of the painting seemed obvious. She found herself reflecting on the trajectory of research and reasoning that led to the initial conclusion that the painting was a poor-quality copy, and the role that bias may have played. The idea that such research outcomes may be influenced by cognitive biases has never been examined in the context of conservation, so Effmann turned to psychology, where the topic has been a significant area of research since the 1970s. She discussed the implications of heuristics, or cognitive shortcuts, we make constantly in order to quickly and efficiently process the vast amount of information we encounter. These heuristics usually serve us well, but cognitive psychologists have studied numerous ways in which they can lead to predictable errors or biases. Effmann identified several biases at play, including Attribute Substitution, when a difficult question is unconsciously replaced by a simpler one. Here, the question of ‘is this painting genuine?’ was replaced with ‘does this painting look like the other painting?’ Confirmation Bias (the tendency to favour information that agrees with preconceived hypotheses), Overconfidence Bias (overestimating the accuracy of one’s conclusion), and even Hindsight Bias (feeling as though one ‘knew it all along’) were all at play in the course of these events. (A good introduction into this topic is Daniel Kahneman’s ‘Thinking Fast and Slow’, Farrar, Straus and Giroux, 2011).
When we sit down at our microscopes, don our UV goggles, take endless notes, measurements, and photographs for documentation, it is easy to think we are looking at these artworks objectively. But the reality is: we’re not. Whether we’re embarking on a large-scale research project, or writing a condition report, we are drawing on previous experience and opinion which is necessary to guide us and make sense of the world around us efficiently, but can also lead us astray. Effmann says she’ll continue to research the topic of bias in the future, and I look forward to seeing what she finds. I know that I’ll be considering the reasons behind my reasoning much more carefully from now on.

42nd Annual Meeting – Workshop, May 28, "Responding to Mold Outbreaks after a Disaster"

This full-day workshop comprised 4 talks by 3 conservators, all experienced with treating mold affected artworks or library/archive materials. The morning session was presented by Olivia Primanis, Senior Conservator at the Harry Ransom Center, University of Texas Austin. Primanis gave a large amount of introductory material focusing on aspects of mold that are of interest to Heritage Conservators and Caretakers. An introduction to mycology provided a basic understanding of fungal characteristics and the life cycle of aspergillus, one of the mold genera most commonly found after flood events. Details of fungal anatomy such as conidia/spore sizes were also discussed, as were activators of conidia – the conditions that encourage rapid growth. Fungal genera found on artifacts, as illustrated in Mary Lou Florian’s book Fungal Facts, was also briefly discussed. Primanis also discussed whether it was necessary to consult with fungal experts, such as industrial hygenists, who can take samples and identify the mold species. While species identification may inform mitigation treatments, it appeared that the presenter did not do any species identification during any of the case studies presented, and all mold outbreaks were treated using the same method of HEPA vacuuming to remove the visible mold, in some cases followed by attempts to neutralize the remaining microscopic elements using a 70% ethanol solution. Rather than attempt to “kill” the mold, Primanis vacuums and then works to optimize the environment to stop or slow mold growth, as historic mold killing treatments have been found to either stay in the affected material and affect users, or could potentially adversely affect the object itself.
In addition to a lengthy bibliography and access to additional downloads via a shared Dropbox folder, Primanis also provided a useful list of options to consider when responding to a mold infestation:
• What is the cause of mold growth and how can the growth be stopped?
• Should an expert, such as an industrial hygienist, be consulted?
• Should the type of mold and bacteria be identified?
• Should the mold be killed?
• What are the health and safety issues for staff and patron?
• Should the mold, and can the mold, be removed from affected building materials and artifacts?
o What methods can be used to remove the mold contamination?
o What methods can be used to assure the cleaning process has been effective?
o What will access to building and collection materials be?
The second presentation was by Ann Frellsen, Book and Paper Collections Conservator for the Emory University Libraries, a member of AIC-CERT as well as organizer of HERA (Heritage Emergency Response Alliance) in Atlanta, GA. Frellson discussed AIC-CERT response after Hurricane Katrina as well as HERA regional response activities, presenting a variety of challenges through a series of case studies. Response activities after tornado destruction in Atlanta highlighted challenges in establishing salvage priorities, as the emotionally affected owners of the collection were incapable of making those decisions, as well as communication issues. Post-Katrina AIC-CERT response inside a historic house on the Gulf coast illustrated the essential need for proper PPE, in this case including full HAZMAT suits equipped with a forced-air system. Another case study discussed how affected town record ledgers containing property data needed to remain accessible, as people were required to consult them in order to obtain proof of ownership as required by their insurance companies. A mold event at Emory University discussed the need for managing contracts with salvage companies, emphasizing that their activities may need to be closely monitored, and you need to know exactly what you want from them.
Ann Frellsen and Vicki Lee (Director of Preservation and Conservation at the Maryland State Archives and AIC-CERT member) teamed up to give a short case-study presentation cleverly titled: “Where We Did Not Find Mold, or, I Suited Up for This?” This presentation consisted of a series of images from flood/water response activities that provided the ideal circumstances for rampant mold growth (such as wet photos in plastic sleeves, wet salvage items left covered in plastic, and wet basement library items relocated to a non-climate controlled backyard shed), but exhibited no visible mold growth.
Another short presentation, titled “Creative Solutions: Thinking Outside the Box (the boxes have not shipped yet)”, presented examples of stabilization treatment ideas that developed from specific needs, such as the creation of a quick-fix solvent chamber at the Cultural Recovery Center in Brooklyn (post Hurricane Sandy) in which solvent sensitive moldy artifacts were treated by placing them in a Ziploc bag with solvent soaked cotton balls overnight. The efficacy of the treatment was not determined. Another attempt to wash and deacidify a paper item tried using crushed and strained calcium vitamins in an attempt to develop a buffering solution bath – the pH was tested at ~pH 7.5. This may be because calcium vitamins comprise calcium carbonate, not calcium hydroxide, but perhaps there were some other steps involved in the experiment that were not mentioned.
Questions from the audience:
Q. How effective is spraying an alcohol solution, when papers are general soaked in baths for 30 min?
Answer from Presenter: No testing was done to determine effectiveness, but it visually appeared to work.
Answer from Audience member: Alcohol treatment only kills surface mold via dehydration. To kill the fungal organism inside of the object or paper fibers, it needs to be put in an anoxic environment for at least 5 weeks using CO2 or Argon gas, which ruptures the cells. If you don’t kill all of the mold (not just the surface mold), then you will have dormant mold under the upper structure.
Q. Was it worth spraying then?
A. Yes, because it minimizes the spread of the spores. You can potentially maintain dormancy by controlling the environment (if possible).
Q. Should you spray, vacuum, and spray again? Vacuum, spray, vacuum?
A. Generally, spray, vac, spray, unless obviously very dirty, then vacuum first so that you can access more of the surface mold.

42nd Annual Meeting – Research and Technical Studies (RATS) Session, May 29, "Unwrapping Layers in Historic Artworks: Virtual Cross-Sections with Pump-Probe Microscopy" by Tana Villafana

For the last few years, Ms. Villafana and her co-authors have been refining a new microscopy technique for conservation to create “virtual” non-destructive cross-sections. This is a very exciting development for our field, particularly for those of us working with materials–such as works of art on paper–that don’t typically allow for sampling. And for paintings conservators more accustomed to taking traditional cross-sections, this technique has promise for in-situ analysis of paint layers through varnish.

To summarize, the virtual cross-section image is created using pumpprobe microscopy, a non-linear optical microscopy technique developed for the biomedical field, which allows non-invasive detection of biological pigments indicative of skin cancer. Because skin tissue is highly scattering, this technique was developed to be inherently confocal, meaning that the signal is generated only at the focal point, creating less scattering, and less spectral noise. The approach is naturally suited to the highly scattering pigments, binders, and supports making up materials of cultural heritage. However, the complexity of art objects render the technique more difficult to apply.
villafana_pump-probe-cross-sections

Pumpprobe microscopy achieves high resolution in three dimensions with a maximum image area of up to 1mm square. The penetrating depth ultimately depends on the material composition of the object under study. The technique is typically operated at two wavelengths: 810nm and 720nm and modulated to create a series of images at different inter-pulse delays. These images can then be colored according to the molecular composition of the specific material and stacked to create a 3D rendering.
With this presentation, Ms. Villafana shared case studies illustrating ongoing research into cultural heritage materials using pumpprobe microscopy. The first project investigates applications of pumpprobe on paper substrates bearing coatings of lapis lazuli pigment. With this technique, it is possible to produce an image illustrating the physical structure and condition of paper fibers underlying the paint layer. She observes that the pigment particles cluster around the fibers, as seen in the slide below. She is interested in further investigating the natural heterogeneity of lapis lazuli crystals, noting that samples from different parts of the world exhibit different delay behaviors. She plans to complement her pumpprobe analysis of lapis lazuli pigments with SEM-EDS, Raman, and FTIR.
villafana_paper-lapis villafana_lapis-pump-probe
Villafana also presented on preliminary research using pumpprobe to investigate historical methods of pottery manufacture. After finding that pumpprobe delays of hematite are dependent on firing temperature, Ms. Villafana started using mock-up clay bodies fired under different conditions (Oxidized at 1800F and 2300F/Reduced at 1800F and 2300F) to examine the difference in delay behaviors from the exterior to the interior of fired clay. She has found that higher temperatures and oxidation both result in shorter lifetimes. Further study will focus on phase change and particle size.
villafana-pump-probe-pottery
I quite curious to see how this technique develops in the near future. Will pump-probe (or something like it) be able to replace traditional cross section techniques within the next 5 to 10 years? What other techniques are being developed out there that might be able to achieve similar results?
See the following two links for more information:
Villafana, et al., full-text PDF of recent research published in The Proceedings of the National Academy of Sciences of the United States of America
Article about Pump-Probe Microscopy in Science News, from Science, AAAS
 

42nd Annual Meeting – Joint Session: Objects + Research & Technical Studies, May 30, “Coping with Arsenic-Based Pesticides on Textile Collections” by Jae Anderson and Martina Dawley

TitleSlidePresenters:
Jae Anderson – MS candidate, Materials Science and Engineering, University of Arizona, member of Navajo tribe.
Martina Dawley – PhD candidate, American Indian Studies, and Assistant Curator for American Indian Relations, Arizona State Museum, member Hualapai and Navajo tribes.
Nancy Odegaard – Conservator Professor, Arizona State Museum.
 
Nancy Odegaard began by introducing this project to develop guidelines for the removal of arsenic from textiles utilizing a portable X-ray fluorescence analyzer (pXRF). She explained that a number of different forms of arsenic have historically been used on the collection at the Arizona State Museum (ASM). For this project, the team chose to focus on Navajo textiles due to the consistency in their materials and construction. In addition, they were able to consult with local Navajo (or Diné) weavers. Martina Dawley and Jae Anderson, who both worked in the ASM conservation lab on the project, presented the remainder of the talk.
Martina described her role in carrying out a survey of the Navajo textile collection, which includes blankets, rugs, and looms. She researched provenance information, produced documentation, and performed XRF analysis on each piece. One of the questions raised during the project was whether the rolled textiles could be analyzed with the pXRF while on the roll or if they had to be unrolled flat first. Interestingly, Martina noticed that the first reading on an object was diagnostic of the remaining readings on that object overall. If the first reading for arsenic was below 100ppm, most of the other readings were also below this level, and the corresponding trend was true if the first reading was greater than 100ppm. Therefore, for textiles with a lower initial reading, analysis was continued on the roll, meanwhile textiles were unrolled for more thorough testing if a higher-level initial reading was found. In the end, 17% of the textiles she tested were found to have levels at or above 100ppm, and the majority of these pieces (69%) were from the 1800’s. Forty-seven percent had less than 100ppm of arsenic, and 36% were found to have no arsenic.
Jae explained the experimental portion of the project in which the pXRF was calibrated and textile-washing methods were tested. First he described two inorganic arsenic species – arsenite, As(III), and arsenate, As(V). Arsenite is more toxic and is commonly in the forms arsenic trioxide and sodium arsenite. It can convert to arsenate by oxidation in wet conditions. For calibration and experimental testing, Jae wetted cotton and wool fabric samples with arsenite solutions of varying concentrations. Another variable tested was application method; he applied the arsenic solutions by droplet, dipping, and spraying, of which the latter two are traditional arsenic-pesticide application methods. During this step, he noticed the wool curled because of its hydroscopic nature, so he altered the experiment to utilize Chimayo hand-woven wool. He also added a surfactant to help with wetting properties and food coloring as a visual cue to see that solutions were applied evenly. Each fabric sample was analyzed five times, both wet and dry, with the pXRF in order to create a calibration curve.
Next, the fabric samples were washed in deionized water, and various conditional effects were tested, including temperature, pH, time, and agitation. The samples were again analyzed with pXRF and the results compared. Increasing the temperature and altering the pH of the wash water were found to have no effect on arsenic removal. The greatest arsenic removal overall occurred within the first 10 minutes of washing, and agitation caused a substantial increase in the effectiveness within the first five minutes. Therefore, the preliminary guidelines were washing for 10 minutes, at a neutral pH, with agitation, at room temperature.
After washing the fabric test samples, the team attempted to analyze the post-wash water with a paper indicator, however this test was not sensitive enough, nor did it indicate concentration. Inductively coupled plasma optical emission spectroscopy (ICP-OES) has the potential to quantify the levels of arsenic transferred to the wash water, and Jae noted that they are beginning to utilize this technique. Nevertheless, the post-wash water was found to contain less than 5 ppm arsenic, so it could be disposed of down the drain, according to municipal and federal regulations.
During the next phase of the experiment, three Navajo textiles were washed according to the preliminary guidelines. (Note that prior to washing, the textiles were documented, analyzed using pXRF, and their dyes tested for colorfastness.) After washing the first textile and finding the results did not correlate with their experimental data, the procedure was altered – the volume of wash water was calculated based on the experimental tests. The second textile washed was initially found to have high levels of arsenic (greater than 100ppm). Good results were achieved, with 96% of the arsenic removed and only minor dye bleeding. The third textile initially had low levels of arsenic (less than 100ppm) and less arsenic was removed during washing. Therefore, better results were achieved (i.e. greater arsenic removal was possible) when arsenic was initially present in higher quantities.
Overall the project surveyed 600 Navajo textiles and identified time-period and collector-dependent trends in arsenic concentrations. The team developed a cleaning protocol in which 95% of arsenic could be removed in high-arsenic contaminated textiles but with less effective results in lower arsenic containing textiles. The mass of the textile, the volume of wash water, as well as agitation and wash time (up to a point), were found to have an effect on results.
Several questions were posed in response to the presentation. One audience member wanted to know about the health and safety outcome of washing – could the textiles now be handled safely without gloves? Jae explained that the results would have to be evaluated by a medical toxicologist. Another attendee was interested to know if this technique could be used on a collection of fragile Egyptian textile fragments with a known history of pesticide treatment. Nancy replied that arsenic can be removed with washing, but the stability of the textile and its ability to withstand washing is a separate issue. Finally, someone asked if the arsenic species, arsenite vs. arsenate, could be identified on the textiles? Jae explained that the two forms are too similar to be distinguished here.
I look forward to hearing more results from this team as they continue exploring new experimental procedures and further developing arsenic removal techniques.  Learn more about the ASM’s Preservation Division here.

42nd Annual Meeting – Joint Architecture and Objects Session, May 29, "The Cultural Production of Tourism at Lake Tahoe: Exploring How Cultural Heritage Preservation Is Impacted By Tourism," by Catherine Magee

This paper was a departure for a specialty group presentation in that it focused not on the conservation or technical study of material culture, but on the creation and consumption of cultural narratives and landscapes. Magee noted that conservation work informs and perpetuates stories about people, places, and things, and made the point that conservators are generally comfortable thinking about our work in the context of education, science, and academic scholarship. But she proposed the idea that we must also consider our role in the broader context of tourism, since the primary products of our work – conserved objects and sites – are most often intended for consumption by the general public, also known as tourists.
Her paper included a brief overview of tourism studies, examining the impact of tourism on different kinds of sustainability: economic, ecological, and cultural. The bulk of the paper was spent illustrating the latter point, looking at the ways tourism influences our perception of history and heritage by creating hybrid tourist/cultural heritage landscapes and influencing cultural memory.
Magee used two examples from her doctoral research, which focuses on the landscapes and material culture of the Washoe people in the Lake Tahoe area. The first example was Cave Rock, a pilgrimage site of major spiritual significance for the Washoe. The site was progressively destroyed by tourism, evolving from a culturally significant tourism site, to a pathway for a road, to a mecca for rock climbers. The second example focused on an iconic Washoe basket form, the degikup, and its most famous creator, Dat-So-La-lee. Magee examined the shared mythos of Dat-So-La-Lee and the degikup in detail, revealing the stories, and the basket form itself, to be products created for tourism.
The role of the conservator in shaping the destiny of a site like Cave Rock or the narrative surrounding iconic artifacts and artists like the degikup and Dat-So-La-Lee was not explicitly discussed. It’s not difficult, however, to imagine the complexity inherent in conservation decision-making for the kinds of tourist-hybridized sites, objects, and narratives explored in this paper. Magee argued that we conservators will discharge our responsibilities best if we develop a better awareness of our role in the cultural production of tourism. With that awareness, we can improve our agency in the process and generate better outcomes for sites, objects, and the communities we serve.