AIC’s Annual Meeting – Page 9 – AIC Blog Archives: Conservators Converse

45th Annual Meeting – Textiles Session, May 31, “A Treatment Returns Undone” by Nancy Love

This talk told the true story of what seems like a nightmarish scenario: an object treated 15 years ago finds its way back to the conservator in as bad (or worse) condition than ever. Nancy Love shared this stunning tale of object stewardship gone awry, which covered not only her approach(es) to treating a Native American feathered headdress treasured as a family heirloom, but also offered a chance to reflect on how the conservator and conservation has changed in the 15 years between the first and second treatments.

The first treatment (in 2001) was documented in black and white photos and color slides. The headdress underwent cleaning, loose elements were stabilized, and it was delivered on a custom-made mount to both support and store the headdress.

The second treatment (in 2016) was documented in digital color photos, which witnessed the object’s return with only part of its storage mount, dirty again, and with many of the rawhide attachment points joining feathers to base broken and damaged. For the second treatment, Love tried a different approach to attach the feathers to the headdress, but ultimately found that more closely following the original technique provided a better outcome. In her discussion of the treatment and during the question and answer time afterwards, Love reflected on her willingness to attempt a slightly more interventive approach as an older and more experienced conservator and the importance of trusting an object to “tell” its caretakers what it needs. It was encouraging to hear the second treatment had a considerably higher final pricetag (reflecting the increased prices conservators in private practice can command) and that the object was returned to owners with a renewed awareness of what it takes to care for cherished objects.

45th Annual Meeting – Textiles Session, May 31, “A Worthwhile Endeavor: The Conservation of a Woth and Bobergh Ensemble” by Johanna Tower

Johanna shared her experiences treating an ensemble labeled Worth & Bobergh at the Museum of Fine Art, Boston. The ensemble includes a skirt, day bodice, and evening bodice of silk faille and dates to about 1870. The petersham label inside the day bodice identifying it “Worth & Bobergh” means it dates from Worth’s early years when his investor (Bobergh) was included in his labels. In spite of its unique history, the ensemble had been the victim of some “refashioning” to update it for later fashions or possibly to make it into “fancy dress.” The alterations included sewing the evening bodice to the skirt, adding panels to the sides to extend the bodice, and stitching the skirt up so that it would no longer accommodate the crinoline and bustle combination of its original fashionable design.

Johanna’s complicated treatment called upon a mix of both skills and techniques that covered the gamut between precise and delicate to practical and bold (but well-researched and justified) choices. While firmly rooted in “conservatorial” thinking and using some familiar techniques, the treatment ranged beyond the conventional to draw upon newer techniques such as digital printing of fabrics to recreate the patterned silk of the underskirt and Johanna’s knowledge of dress-making to prepare a half-size model of the to-be-reworked skirt and to recreate the waistband and original cartridge pleats. Dyed-to-match fabrics were used not only for treatment of the solid purple, but also for the patterned fabric. Johanna dyed the silk first, before delivering it the digital printer, who then only had to match the printed pattern, which avoided the “over crisp” and new look of some digitally-printed fabric infills. The treatment ultimately represented a thoughtful and nuanced blending of old and new, dressmaker and conservator, that breathed new life into an object that Johanna described before treatment as “not the most beautiful” of the MFA Boston’s Worth examples, making the treatment “A Worthwhile Endeavor” indeed.

45th Annual Meeting – Paintings Specialty Group, May 31st, “The Monopoli Altarpiece: Rediscovery and recovery of a Cretan-Venetian masterpiece,” by Caitlin Breare

Caitlin Breare’s excellent talk on the Monopoli Altarpiece, a seven-panel polyptych in the collection of the Museum of Fine Arts, Boston, was part of a morning of presentations focused on challenges encountered during treatment of painted wood. The fifteenth-century altarpiece originated from the city of Monopoli in southern Italy, but – as became clear during Caitlin’s presentation – it represents an amalgamation of styles. This city was on a trade route between northern Italy and the Mediterranean Sea, and both Venetian and Cretan painting clearly influenced the aesthetic. The altarpiece’s format and use of European poplar for the support is consistent with Italian construction, suggesting that a Venetian workshop may be responsible, while the painting materials and style are consistent with Cretan technique.

The treatment and research of this work, which had previously been deemed unexhibitable, was begun in 2015. Technical analysis revealed a great deal about the altarpiece’s materials and artist’s technique. Caitlin compared the work’s Cretan aesthetic to the Byzantine style with relation to the elongated figures and gilded background. The original gilding consists of burnished water gilding over a yellow ochre preparatory layer. While a yellow bole might be considered unusual in other contexts, this was a common material for gilders in Crete to employ. The use of a mixture of umber, black, vermilion, and white as a base tone for the flesh was also standard practice for Cretan painters.

Infrared reflectography showed that the underdrawing between the seven panels is consistent. Meanwhile, examination of the X-radiograph indicated the presence of scored lines under the paint in each panel, presumably to give texture to the wood before application of the gesso. Such scoring has been observed in the works of other Cretan painters. Examination of tool marks resulted in an exciting discovery: from the way the tool marks match up, the two panels with the saints directly on either side of Virgin seem to have been switched at some point in the past. Reconfiguring the panels also makes more sense compositionally, as the saints’ postures now direct the viewer’s eye towards the Virgin.

Restoration consisting of oil gilding was easily distinguishable from the original water gilding and was removed in the course of treatment. Treatment also involved grime removal and the reduction of a discolored, locally applied coating, probably consisting of drying oil; fortuitously, the coating appears to have protected the paint in some areas.

The greatest challenge encountered during treatment was the presence of calcium oxalate on the paint surface. The formation mechanism of this highly-insoluble brown layer is unknown, although Caitlin postulated that perhaps it may be linked to a coating applied over azurite. Another hypothesis is that fungus may be the source. In any case, chelators and mechanical removal were used to reduce the layer as much as possible. Now that the work has been cleaned, George Bisacca will be completing the structural treatment of the panels in the near future, and the altarpiece will be returned to the MFA for compensation.

For more on the altarpiece’s examination and conservation, there is a detailed summary on the MFA’s website: Conservation in Action: Monopoli Altarpiece. Although the language in the text is directed towards the general public, the post includes great images and time lapse videos of the treatment.

Study of the calcium oxalate layer and methods for its removal were prominent focuses of this treatment, and Caitlin hinted during the question and answer session that she will be looking further into medical techniques that reduce kidney stones as a potential solution for the removal of this type of layer. I look forward to seeing how Caitlin’s research progresses!

45th Annual Meeting – Paintings Specialty Group jointly with Research and Technical Studies, May 30th, “Re-examining Old Findings and Inferences: The Study of a Magus at a Table by Jan Lievens,” by Shan Kuang

This presentation by Shan Kuang focused on the technical analysis and reattribution of Magus at a Table from Upton House, National Trust.

Multiple versions of this composition exist, variously attributed to Rembrandt, circle of Rembrandt, Lievens, copy after Lievens, and so on. The attribution of this particular work has long been contested. The painting was listed as an original Rembrandt, then reattributed as a “copy after Lievens” after a 1983 examination. Dendrochronological analysis conducted at that time indicated that the tree from which the panel was fashioned was felled after 1660. Additionally, samples were taken and examined in cross section, and the results of this analysis seemed inconsistent with the painters’ techniques.

New scholarship on Lievens provided the impetus to reexamine the attribution, and the work was sent to the Hamilton Kerr Institute for treatment and study in 2014. At this time, dendrochronology specialist Ian Tyres revisited the prior dating, questioning the methodology used and ultimately rejecting the 1660 date. This once again opened up the possibility that Rembrandt or Lievens had a hand in the painting.

New imaging technologies showed that an initial sketch had been revised significantly in the final composition and that the color of the table had been revised. Furthermore, macro X-ray fluorescence scanning revealed pentimenti that had been previously undetected by X-radiography. An arc of foliage that had been painted out by the artist was particularly notable. These changes indicate the likelihood that the painting is an original artwork rather than a copy. Additionally, such extensive reworking is fairly common for Lievens.

Previous analysis of the cross sections from the painting had concluded that copper green was present, which was used as evidence against attributing the painting to either Lievens or Rembrandt. However, re-examination of the cross sections indicated that the element copper actually corresponds to blue particles and that a mixed green is present, which is in line with the practices of both artists.

In light of this new information, the painting was reattributed to Lievens based on stylistic grounds and consistency of materials and technique. Shan presented this research logically and effectively, and the analysis of this painting provides an impressive case study of how re-examination of paintings – utilizing new research and improved technologies – can lead to exciting discoveries and contribute to our understanding.

Preparing for the 45th Annual Meeting: ECPN’s Updated Tips for Conference Attendance

In anticipation of the 45th Annual Meeting in Chicago later this month, the Emerging Conservation Professionals Network has updated our “Tips for Conference Attendance.”

Access a PDF version of this Tips Sheet, which includes hyperlinks, by clicking here. We look forward to seeing you in Chicago!

Scholarly Writing for Conservation Pre-Session at AIC’s Annual Meeting in Chicago

Attention, Emerging Conservation Professionals! Before making your way to ECPN’s Poster Session Lightning Round at AIC’s Annual Meeting in Chicago, be sure to stop by the pre-session Scholarly Writing for Conservation and learn how to whip your articles into shape for peer-reviewed publication!

Scholarly Writing for Conservation

Haymarket Concourse Level, West Tower

Does your conservation project need some exposure at the national and international scale? Would you like to get the word out about the conservation work you do, but do not know how to begin to write a paper for a journal? Then this pre-session is for you. This informative session will help you organize and summarize your work in order to meet the strict requirements of a peer-reviewed journal article.
The JAIC editorial board wants to encourage and provide guidance to potential authors wishing to submit articles to our journal. Our goal is to assist in the development of skills needed to write and submit journal manuscripts to improve the dissemination of research, treatments, and enhanced knowledge sharing. Scholarly communication, at both the national and international levels, is a skill that is not often prioritized by conservation programs, while the ability to publish in peer-reviewed journals is an essential part of communicating research and results, which is necessary for professional development.

Within this framework, the pre-session will take participants through the process of planning, preparing, and writing a manuscript for submission to a journal in the conservation field, with a clear emphasis on JAIC.

The session will consist of short presentations, a roundtable discussion with Q&A, and practical exercises with feedback from speakers. Attendees can bring research ideas and/or basic outlines to share for discussion by the editors.

Planned speakers also include Michele Derrick (former JAIC editor-in-chief), Robin Hanson, and Ellen Pearlstein. The panel will be moderated by Julio M. Del Hoyo-Meléndez, Research Scientist, National Museum in Krakow.

Abstracts for STASHc Flash IV Storage Tips session – May 29, 2017 at the AIC Annual Meeting

The 2017 STASH Flash storage tips session at the Chicago annual meeting will have three themes:

Building on the conference theme Innovation in Conservation and Collection Care, the first group of presentations offer solutions that eliminate the need for treatment or complement an interventive treatment.
The second group of presentations are supports that that serve more than one purpose such as storage, transport, and/or exhibition.
Group three presentations focus on supports that can be mass produced to deal with collection-wide storage issues as well as other novel ideas.

Presentations will be posted on the STASHc solutions pages after the meeting.

Group 1

Presenter(s): Clara Deck
Affiliation: The Henry Ford Museum
Collection type: Edison Diamond Disc Records
Abstract: THF counts among its wide-ranging collections a nearly complete run of the Edison Diamond Disc recordings, produced by Thomas A. Edison, Inc. from 1912 to 1929. Played with a diamond stylus, these records are ¼” thick and made of a Bakelite-type plastic over a wood-pulp core. This collection is cataloged in over 6500 entries, which includes the 6000 discs. Most came directly to THF from the Edison factory in West Orange, NJ and are generally in excellent condition. However, they are housed in their original acidic, wood-pulp paper jackets, which have become brittle over time. Some of the jackets bear unique printed information. Handling closely-packed records in their original jackets causes damage. THF conservators worked with vendor Hollinger Metal-Edge to develop a custom-made preservation sleeve that will safely store the thicker-than-normal discs, as well as a “jacket-sling” to re-house the original record jacket. Some assembly is required.

Presenter(s): Basia Nosek and Susan Russick
Affiliation: Northwestern University Libraries
Collection type: Glass Plate Negatives
Abstract: Photographic materials on glass supports are prone to cracking, braking, and flaking emulsion. With large collections, treatment may not always be an option. For this reason, proper housing and implementation of preventive conservation methods is the only viable solution to prolong the longevity of the collections. While the National Archives’ recommendation of housing negatives individually in paper sleeves sounds straightforward, non-standard sizes, broken plates, and the need to maintain association with original envelope enclosures or groupings can complicate the process. By filling-in the negative space of standard four-flap enclosures we were able to accommodate different sizes and broken glass plates. Additionally, this method allowed us to keep all of the collection materials in standard size boxes. Ties and dividers were used to help indicate association of subsets of objects, keep items in order, and distinguish original housing groups. Lining boxes with foam and using corrugated board spacers added additional protection.

Presenter(s): Emilie Duncan
Affiliation: Graduate Fellow at Winterthur/University of Delaware Program in Art Conservation
Collection type: library/bound materials
Abstract: The separation of book spines from books, whether through natural deterioration or through treatment intervention, is commonly encountered in collections containing bound materials. Oftentimes – especially if the spine is leather – the replacement of the spine on the book is impractical or unsafe, as it can cause significantly more damage through continued use. As a result, there is a need for a storage solution that allows separated spines to be stored with their books. This can be achieved by modifying the design for a clamshell box to add a compartment to hold the spine. The compartment is located at the spine of the book, and has a Vivak window, allowing the leather spine to be visible while the box is closed and shelved. Not only is the spine material protected from the physical strains of being reattached to the book or flattened for traditional storage methods, but it remains intellectually and visually connected to the book from which it has physically been separated.

Presenter(s): Skyler Jenkins
Affiliation: Arizona State Museum, University of Arizona
Collection type: Ethnographic and Archaeological
Abstract: The Arizona State Museum (ASM) basketry collection became an official project of the Save America’s Treasures (SAT) program in 2011. Known as the Woven Wonders: Basketry Project, this effort addressed the need for new environmentally controlled, secure, unified space for over 35,000 catalogued items. Treatment protocols have been developed, approved, executed, and refined with funding from two IMLS awards. ASM’s five plus year long basketry project had many new treatment and storage techniques that evolved through collaborative treatment. Among these innovative ideas, an internal storage support for more flexible basketry material emerged. This allowed flexible baskets to be treated more easily, to be handled without damage, and to reduce the required space for storage. This session will explore the various types of internal supports created to be an alternative to unnecessarily large external supports, and to assist those who cannot expand their storage space.

Presenter(s): Gretchen Anderson
Affiliation: Carnegie Museum of Natural History
Collection type: Saddles
Abstract: Saddles are large and awkward to store. They are often set on shelves or placed on sawhorses that are padded out with polyethylene foam. Plastic sheeting is draped over them to protect them from dust and potential water drips. The sawhorses take up a large foot print in a crowded storage room, and the legs are a tripping hazard. The sawhorses get moved around, creating additional risks for bumping and dropping the saddle. This article describes a practical method to store saddles, improving support, maximizing space use, and generally protecting them in a cleaner and more efficient manner. This system is primarily for long term storage, but can be adapted for display or for transport. The basic mounting system currently being used at the Carnegie Museum of Natural History will be detailed. Refinements from the Science Museum of Minnesota will be described as well.

Group 2

Presenter(s): Connie Stromberg and Lara Kaplan
Affiliation: Smithsonian National Museum of African American History and Culture, Contract Objects Conservators (for Inaugural Exhibitions). Stromberg Conservation, LLC and Lara Kaplan Objects Conservation, LLC
Collection type: 369th Hellfighters Gas Mask and Canister, Historical Artifact
Abstract: This gas mask is part of the field equipment worn during WWI by a soldier in the 369th Infantry, an African-American regiment known as the Harlem Hellfighters. It consists of a canvas mask with glass eye pieces connected to a painted steel canister by a collapsible hose. The object was in very poor condition: the mask was extremely fragile with many tears; the hose had ripped loose from the mask, and was deteriorated, deformed, and splitting at the seams; and the canister was rusting and had lost about half of its paint. Slated to go on view in the inaugural exhibition of the Smithsonian National Museum of African American History and Culture, creative collaboration among conservators, mount makers, and curators was necessary to successfully treat and permanently support the mask for its safe display, transport, and storage.

Presenter(s): Rebecca Beyth
Affiliation: The United States Holocaust Memorial Museum
Collection type: 3-D Object Collections
Abstract: In 2016, the United States Holocaust Memorial Museum built a new off-site collections and conservation center to house its collections. The relocation from a previous off-site facility was critical to the museum’s preservation mission, and improved its storage, research and transportation capacity. Rehousing was necessary to safely transport many of the 3-D objects. An initial survey determined which 3-D objects required specialized housing. Staff used four common methods to house 3-D objects based on their material, size, shape and condition:

Secure 3-D object to a tray, which could be removed from the box.
Secure 3-D object directly into the box with ties.
Secure 3-D object in the box using a shaped bumper, which is held in place by the box lid.
Cavity pack 3-D object in the box.

Using these methods (with modifications as needed) the team successfully rehoused approximately two-thirds of the 3-D object collections, including all items classified as high-priority due to their material or condition.

Presenter(s): Vasarė Rastonis
Affiliation: Columbia University Libraries
Collection type: oracle bone enclosures
Abstract: Columbia University’s C.V.Starr East Asian Library contains one hundred and twenty eight oracle bones. These are the library’s oldest documents, some of which are dated as early as 1554 BCE. The bones had been stored in roughly two different manners; the first group of sixty three bones was enclosed in plexiglass sleeves with board inserts, and the second group of sixty five was housed in a variety of boxes and cardboard trays. In the Autumn of 2015 the storage methods were reviewed and revised with the assistance of Eugenie Milroy of A.M. Art Conservation. Upon consideration it was determined that the plexiglass enclosures of the first group were almost ideal and could be used with a few modifications and that the second group would be enclosed in a set of prefabricated boxes fitted with Volara® foam and Tyvek®. Although the two types of storage systems are quite different from one another, not only in their appearance but also in the amount of time needed to prepare them, they both achieve the desired goal of safely storing the oracle bone collection.

Presenter(s): Annie Hall
Affiliation: Cooper Hewitt, Smithsonian Design Museum
Collection type: Product Design and Decorative Arts – smaller objects
Abstract: Cooper Hewitt’s recent mass digitization rapid capture project required the development of object support systems to safely and efficiently move over 30,000 objects from storage to the photographic stage and back to storage. A team of contract art handlers were hired by the mass digitization company and Cooper Hewitt staff were required to provide guidance and ensure handling protocols were in place. Systems for movement of object types were developed so the team could safely and efficiently move objects for each object category within the given time. A modular bin system with movable dividers was devised for smaller fragile objects such as glass and ceramics. Custom-sized cavities lined with Volara were constructed for each object and a previously designed object storage support system was modified to ensure objects were fully supported during the short trip to photography and back to storage.

Presenter(s): Jakki Godfrey, Lisa Bruno, Carol Lee Shen
Affiliation: Brooklyn Museum
Collection type: Ancient Egyptian Objects (but could be for any varied object collection)
Abstract: From 2008-2012, 127 of the Brooklyn Museum’s ancient Egyptian objects traveled on a 12-venue loan exhibition. To minimize handling, many objects were mounted to Medex boards or plinths for both transport and display. Boards and plinths were either coated in Zinsser® Shieldz® primer sealer, painted and padded out with polyethylene foam or covered with Marvelseal 360, padded out with polyethylene foam and/or polyester batting and covered in fabric. Objects meant for vertical display included hanging hardware on the back of the transport/display board. Plinths used to display large heavy objects were furnished with handling access to fork lift or gantry in place. Many objects held up well during the exhibition tour; however some very fragile objects such as the Museum’s animal mummies suffered some damage. Methods for traveling these fragile objects has since been modified.

Group 3

Presenter(s): Hildegard Heine and JP Brown
Affiliation: The Field Museum, Chicago, IL
Collection type: Housings for lightweight oversize organic objects
Abstract: This presentation discusses a modular framing system that we adapted to make supports for fragile, oversize (and occasionally poisonous) organic objects from world cultures, especially oversize masks in the Pacific. Although the no ‘one size fits all’ approach is possible for these objects, we developed a housing design that can be customized to several different object geometries. The main construction material is lightweight, square-section aluminum structural framing tube. Polyethylene or Mylar sheet is stretched over the framing, providing a barrier to prevent loss of loose material and to mitigate against dust deposition, air currents, and damage during handling and transport. The framing can also easily be modified to include bottom, top or side panels. A reversible flap sealed with a magnetic strip provides access for one side of the housing to allow for access. Handles attached to the framing permit easy transport of the entire structure. This modular framing system based on standard materials suits a wide range of object types and allows for flexibility in designing supports for specific object needs.

Presenter(s): Kate Wight Tyler
Affiliation: Cooper Hewitt Smithsonian Design Museum
Collection type: Modular Support System for Decorative Arts Objects on Compact Shelving
Abstract: A reproducible storage system consisting of support components in standardized shapes and sizes was developed to respond to targeted collection-based needs at the Cooper Hewitt Smithsonian Design Museum. Primary stability issues were first identified and categorized and support components were designed and manufactured to:

Stabilize vulnerable objects on mobile and static shelving
Economize shelf space
Promote visibility and access
Provide a mechanism for safe object handling
Economize supplies and resources
Encourage sustainability through re-use

The most useful and innovative designs were:

Circular Tyvek pillows filled with a mixture of polypropylene pellets and glass beads for weight
Accordion-fold divider system that was designed to efficiently re-house boxes of flatware (but could work well for other objects of similar size/shape – hairpins, fans, pens etc.) and was mass produced by Talas using their archival board.

A detailed description (including patterns and designs) for components and all materials and sources will be included.

Presenter(s): Louise Stewart Beck
Affiliation: The Henry Ford Museum
Collection type: Electrical objects; Scientific & Industrial Collection
Abstract: Thanks to a grant from the Institute for Museum and Library Services, we are currently rehousing a collection of electrical artifacts. As we go through the process of removal from storage, conservation, digitization, and packing for transport and storage, we have encountered objects that present interesting packing challenges. These include objects without a stable resting position, extremely dense and heavy objects, and hazardous objects. Our presentation will demonstrate the materials and methods we have used to solve these issues, including ‘scaffolding’ for unstable objects and the accommodations that we have made for the high total weights that we are dealing with when palletizing. In addition, our conservation department frequently receives queries on the movement of this type of material from smaller institutions, and in response to that we have begun to work on a series of handling and packing videos that address scientific and industrial collections, including this project. Our presentation will include brief clips from that undertaking as well.

Presenter: Ben Fino-Radin
Affiliation: Associate Media Conservator, The Museum of Modern Art
Collection type: Digital Materials in Time-based Media Art Collections
Abstract: At many institutions and collections, increasingly, conservators of objects, paintings, prints, and photographs are tasked with the new and added responsibility of stewarding and defining the storage conditions for collections of time-based media art. No matter how small the collection, the storage needs of the digital components of time-based media artworks, has ushered in the need for a wholly new set of vocabulary and skills and understanding in order to employ proper digital housing for transportation and transmission, and in order to collaborate with experts to specify a proper storage environment. This lightning round will offer tips on the fundamental concepts and vocabulary needed in order to approach the housing and storage of digital materials in collections that include time-based media art.

Improved Respirator Fit Testing at the AIC Annual Meeting

The Health & Safety Committee is happy to announce NEW and IMPROVED respirator fit testing for the Annual Meeting in Chicago! We have listened to your feedback and have modified the process to make fit testing more accessible. The new program includes:

An online lecture–no more conflicts with Annual Meeting programming!
More options for medical evaluations. Medical evaluations will be provided through AIC (and are included in the price of the fit test) OR you can still see your own doctor.
CIPP members get a discount! FREE Fit Test if you sign up for the CIPP Seminar.

Appointments are limited, so register now!

Why Get a Respirator Fit Test?

The AIC Fit Test Program is specifically designed for conservators, particularly those who are self-employed or who do not have a respiratory protection program provided through their employer.

Whether you are using hazardous chemicals in your laboratory or working with mold-infested artifacts after a flood, you need to be sure you are protected with a properly fitting respirator. Do the elastic straps still pull tightly? Do you need a new type or size due to facial changes resulting from weight gain or loss or surgery? Are you using the right kind of protection for your hazard?

OSHA requires individuals be fit tested on an ANNUAL basis to assess the condition of both the respirator and the user. If you perform work that requires the use of a respirator your employer MUST provide the appropriate respiratory protection, medical evaluation, training, information and fit testing–even disposable dust masks are considered by OSHA to be respirators requiring proper fit testing.

It is important to be proactive in your own health and safety and to follow OSHA recommendations and protocols, even if you are your only employee.

What is Involved?

The AIC Respirator Fit Test Program consists of three parts in order to be compliant with the OSHA standard:

(1) An OSHA Respirator Medical Evaluation Questionnaire completed by the registrant and reviewed prior to the fit test either with the Chicago-based clinic contracted by AIC (included in the registration fee) or with their own healthcare professional (at their own expense).

(2) An informational lecture (~ 1 hour) and quiz, which can be completed online prior to the meeting.

(3) An individual fit test (about 15-20 minutes/person) at the Annual Meeting.

Fit test appointments will be available on Tuesday, May 30 (9am-5pm) and Wednesday, May 31 (8:30am-11:30am).

Both the lecture and fit test will be conducted by a qualified Occupational Safety Professional or Certified Industrial Hygienist.

Registrants can bring their own respirator if they already use one and/or try on a selection of sample respirators. They will be contacted directly by the Health & Safety Committee to provide the link to the online lecture, to discuss medical evaluation options and to schedule appointments.

How to Register:

Registration for a fit test can be completed through the AIC Annual Meeting online portal.

This year, the Conservators in Private Practice (CIPP) Specialty Group is generously funding fit testing for its membership. CIPP members who register for the CIPP seminar, Innovative ‘Tools’ to Enhance Your Business, can also sign up for a FREE fit test. Can’t attend the seminar? You are still eligible to sign up for a fit test for the reduced rate of $30 (a 50% discount from the regular registration fee). If you aren’t currently a member, add CIPP to your AIC Membership Renewal to receive this benefit ($25).

From the “Sessions” checkout screen, select the “Respirator Fit Test” option and the appropriate registration status (Regular, CIPP Member or CIPP Seminar Attendee) and proceed to checkout. AIC will confirm your status eligibility prior to contacting you about scheduling a specific appointment.

We look forward to seeing you in Chicago!

The Committee would like to thank all the members who completed our online survey! Fit Test organizers are making sure to address all the helpful comments, questions and concerns.

Call for Submissions – Sustainability Committee Tips Session

Call for Submissions – Sustainability Committee Tips Session
45th Annual AIC Meeting May 28 – June 1, 2017 in Chicago, IL
The Sustainability Committee of the American Institute for Conservation of Historic and Artistic Works (AIC) invites submissions for its sixth annual session at the 45th Annual Meeting, in Chicago from May 28 to June 1, 2017.
Do you choose solvents because they have minimal toxicological effects? Have you found ways to minimize solvent use? Can your mannequins be reused and retrofitted from one exhibition to another? When making a new frame for a painting, is it made from sustainably harvested wood? Do you reuse shipping crates? Do you recycle gloves or other lab supplies? Get creative!!
The Sustainability Session will use a Lightning-Round Tip format to explore this year’s theme, “Treatment 2017: Innovation in Conservation and Collection Care.”
We invite abstracts that explore sustainability within conservation specialties (archaeological, architecture, book and paper, electronic media, objects, paintings, photographic, textiles, wooden artifacts). We also invite abstracts that explore sustainability within collections care, health and safety, research and technical studies, as well as how you incorporate sustainability into your private practice.
Tips will be grouped into blocks with a Q&A component.
The deadline for submission of abstracts is Friday March 31, 2017.
Please submit abstracts via email to sustainability@conservation-us.org .
Abstracts are not to exceed 500 words, not including title or biographical information.
All abstracts should be submitted in English.

AIC’s 45th Annual Meeting – Last Call, Get Your Papers In Before September 23rd!

There are only 2 days left to submit your specialty, joint, pre-session and workshop papers.
We would like to remind you that the final deadline is 11:59 p.m. on Friday, September 23, 2016. You still have time to submit your 500-word maximum paper abstracts, workshop proposals, and pre-session programming.
How to apply
For more information on the theme of the Annual Meeting, the different types of programing and how to submit, please visit the Annual Meeting webpage. If you are ready to submit your abstract, pre-session, or workshop proposal please follow the links below to submit directly to our online system:

Submit an abstract for a General, Specialty, Joint Specialty, Interest Session, or Poster presentation
Submit a proposal for a Pre-session presentation
Submit a proposal for a Workshop

Questions?
For questions regarding abstracts, contact Ruth Seyler at annualmeeting@conservation-us.org.
All inquiries related to workshops must be addressed to Sarah Saetren at courses@conservation-us.org.