During the first day of the meeting, Monique Fischer, senior photograph conservator at the Northeast Document Conservation Center (NEDCC) gave a talk on her research on the characterization of digital output media. In 2010 Fischer was awarded a Getty Conservation Institute (GCI) guest conservation scholar position to conduct this research and although five years have passed since she started this work, the big picture concepts still remain relevant.
As photograph conservators know, many of the challenges associated with the preservation of digital output media are a result of the rapid development of technology and changes in product manufacture; in some cases materials have become obsolete, their formulations have changed, or their product name has changed. Due to these factors, the importance of gathering the “now” information was emphasized in the talk. This “now” information includes the collection of characterization data (type of paper, surface qualities, and component materials) from unused paper samples.
The impetus for this research project came in 2008 when Fischer noticed yellow stain formation on inkjet papers that had not yet been used. The sheets of inkjet paper were left in ambient conditions for about a year, and were only exposed to indoor air pollutants and some light; the uncovered areas of the paper showed signs of the yellow staining. In the talk, she noted other examples of yellow stain formation seen in different brands of inkjet papers: from consultations with artists as well as firsthand with the digital imaging department at NEDCC. In the latter instance, the staining occurred where the non-archival plastic packaging was in contact with the paper, prior to it being unwrapped. An important factor connecting the papers exhibiting yellow stain formation is that all possessed no optical brighteners (OBAs), and it is known that OBAs, a fluorescent component added to improve sheet brightness, may yellow when exposed to light and heat.
The research project had two major objectives: the creation of a digital paper characterization database and material analysis of paper samples. For the database, 241 paper samples were compiled and they are categorized to include: manufacturer and commercial name, thickness and weight, base substrate and composition, surface texture and finish, presence of OBAs, ink compatibility, and type of coating. Out of this, trends were documented, for instance, 81% of photographic inkjet papers contained OBAs, while only 31% of fine art inkjet papers contained OBAs. Additionally, OBAs were found in different layers of the inkjet papers.
Prior to looking at trends, Fischer notes the importance of using proper nomenclature for these materials. Part of her research includes the development of standardized terminology and she has turned to product discussion groups for photographers and practitioners using these different types of materials in order to gain insight on their current use and application. Though it is apparent that due to the proprietary nature of these materials, characterization may prove challenging.
The material analysis was carried out in conjunction with research scientists Dr. Dusan Stulik and Art Kaplan of the GCI. Initially, Fourier transform infrared spectroscopy (FTIR) was applied as a surface only technique, but due to limited sensitivity, minimally-destructive samples were taken. The findings from one type of inkjet paper were discussed, and in this paper sample, polyvinyl acetate (PVA) and a wax-like material as a possible coating and additive, respectively, were found.
Based on this finding, it was concluded that some coatings on inkjet papers may be PVA, a material widely used in many industries including the paper manufacture industry. In conservation, PVA has been documented as a relatively stable resin, and it is used for certain treatments in book conservation. However, it is possible that the stability of the resin is decreased when combined with additives – thus the yellow stain formation could be a result of degradation in the PVA coating. No conclusions were made on what caused the staining. Additional research goals include conducting gas chromatography/mass spectrometry (GC/MS) as a characterization technique.
Though not fully discussed in the talk, during the question and answer session, a question was asked regarding the impact of the printer profile on the stability of the inkjet print. Without hesitation, Fischer stated that the printer profile may have a tremendous impact on image permanence, specifically in color rendering and amount of ink used when using a manufacturer’s recommended printer profile or a custom printer profile. The main takeaway from her answer is that conservators should do their best [through artist interviews/consultations] to document as much information on an inkjet print including: printer profile, printer, type of paper, type of ink, et cetera, as these factors and their, potentially endless, combinations will greatly impact image permanence.
Category: Conferences, Courses, Workshops & Seminars
PMG Winter Meeting – “Photographic Paper XYZ: de facto standard sizes for silver gelatin prints” by Jennifer McGlinchey Sexton, Feb. 20
Jennifer McGlinchey started her impressive talk with an explanation of the history of lists of photographic paper sizes. She stated that there were no available references that have lists of ‘standard’ sizes. In fact, the lists of sizes they were able to find were very small, and also corresponded to very specific time periods. Further research suggests that these sizes were not considered standard and were certainly not inclusive of all sizes used. Rather than identify ‘standard’ sizes, she identified ‘common’ sizes by the criteria that they appear in five or more of the references. These she concluded were ‘de facto standard sizes.’ For the study, McGlinchey used Paul Messier’s extraordinary paper collection which consists of over 5,000 samples of silver gelatin photographic paper, as well as 9 manufacturer’s sample books and pricelists and 6 encyclopedias: http://www.paulmessier.com/
The use of English-language publications from a few geographic locations (US and Europe) may have been limiting, but in fact, there are very few references from other geographical areas. Concluding that there were common rather than standard sizes is not to say that there were no attempts to standardize paper sizes, but the attempts were never very successful. The result of the study was that she identified over 200 distinct sizes, just over half of which occurred only once. She identified 32 de facto standard sizes. Many of the sizes considered common now in the USA, such as 4×6 and 5×7 inches, are included in that list, but many sizes which are no longer manufactured are also on that list. This includes smaller sizes like 2.5 x 2.5 inch, which were much more common in early days of gelatin silver printing. She mentioned that the measurements for papers grouped together as the same size allowed for a difference of +/1 5 mm along each dimension, to account for natural expansion/contraction, ferrotyping, and so on, which could account for small dimensional changes. As part of the research they also evaluated common thicknesses of silver gelatin paper, and found three de facto standards. The most common was ‘single weight,’ followed by ‘double,’ and finally ‘medium.’ Double weight papers fall above 0.25 mm, medium weight papers under 0.25 and single weight papers under 0.2 mm. The double weight paper started get thicker in the 1930s until the 1950s and then got thinner again, so manufacturers changed the thicknesses over time but not the terminology. It was also found that five common aspect ratios occurred in 88% of the de facto standard sizes. This implies that scaling relationships were a factor for determining silver gelatin DOP paper sizes. Characterization by aspect ratio not only simplifies the dimensional diversity of silver gelatin paper by emphasizing their scaling relationships, but also highlights their relationship with other media. For example, 6:5 is common mainly with plate sizes, 5:4 is the aspect ratio of many large format films. 4:3 is the first motion picture aspect ratio and 8:5 is the golden ratio.
The measurements and other data were recorded in spreadsheets (the full results were published in JAIC, Volume 53, Issue 4 (November, 2014), pp. 219-235). It led to the conclusion that there is no easy answer to these questions. No system of standard paper sizes was successfully put in place for photographic papers. Additionally, available sizes varied widely over time and across geographic boundaries.
This research can be utilized in identification of artist’s methods and paper preferences. One useful application is to study photograms. This technique was used to great effect by Man Ray and Laszlo Maholy-Nagy, contemporaries working in France and Germany respectively. Of course, each print is unique, because it would be difficult to replicate the exact condition since no negative has been used. Of a selection of 163 prints by Man Ray dating from 1920 to 1940, there were 88 photograms and 75 traditional prints from negatives. Compared with the de facto standard sizes identified by this research, the dimensions of 39 Man Ray photograms (roughly 44%) correspond to de facto paper sizes. From 75 prints from negatives, only 25 (33%) correspond to the de facto paper sizes. This survey shows that Man Ray most likely trimmed his photographs from negatives, but didn’t trim his photograms. Averaging about 3.5 mm thickness, the photograms fall into the category of double weight papers.
Man Ray’s process contrasted with the working practices of Laszlo Maholy-Nagy. Print dimensions and estimated thickness for 216 prints by Maholy-Nagy made in Germany between 1922 and 1928 were collected from the catalogue raisonne of his photograms. Of these photograms, 216 or about 89% correspond to the de facto standard sizes identified by this research. The majority of the prints made from negatives were printed on two sizes of paper, 18 x 24 cm and 13 x 18 cm, both de facto standard sizes. This shows that Moholy-Nagy used full sheets of paper for his photograms and didn’t trim them down. The catalogue raisonne describes the thickness measurements of many Moholy-Nagy photograms as single weight or double weight. According to these descriptions Moholy-Nagy used the single weight or double weight papers in equal frequencies and sometimes used both in the same series.
Understanding the de facto standard sizes provides a useful point of comparison of these two artists. Differences in their methods can be due to a variety of factors. Moholy-Nagy was known for his scientific approach to photography, as a record of the interaction between light and physical object composed within the border of the paper. His photograms were complete upon processing. In contrast, Man Ray was more acutely engaged in producing highly refined settings of expression; attention to detail and subtle manipulation apply to all aspects of Man Ray’s photography as evidenced by his skilled practices in retouching and using carefully proportioned mounts.
In summary, there really were a lot photographic paper sizes available, particularly in middle of the 20th century, when these papers were extremely popular. While there are some de facto standard sizes and thicknesses, silver gelatin papers were made in numerous sizes and the majority of paper sizes listed in the references occurred only once.
ECPN Webinar – Presenting Talks and Posters
Emerging Conservation Professionals Network (ECPN) Webinar:
Presenting Talks and Posters
Wednesday, March 11th at Noon EST
Registration Page: Click here to visit the registration page
Conference season is quickly approaching! If you are busy working on a poster or presentation, or even preparing for graduate school interviews, join the Emerging Conservation Professionals Network (ECPN) for our upcoming webinar Presenting Talks and Posters on March 11th at Noon EST. ECPN is excited to feature two conservators with professional experience in presentations, Katie Sanderson and Ariel O’Connor. The speakers will discuss writing an abstract, putting together an effective PowerPoint, presenting a talk, and creating a poster. ECPN is seeking question submissions for the Q&A portion. Please contact ECPN Chair Megan Salazar-Walsh at salazar.walsh@gmail.com or Webinar Coordinator Fran Ritchie at FranRitchie@gmail.com for questions.
Registration: Click here to register for the webinar. Closer to the date, you will receive an e-mail with information on how to connect to the webinar.
If you miss Presenting Talks and Posters or need a refresher, it will be recorded and uploaded onto the AIC Youtube channel. For a listing of past ECPN Webinars, click here (or visit the AIC Youtube channel).
Webinar Presenter Bios:
Katie Sanderson Katie Sanderson is an Assistant Conservator of Photographs at The Metropolitan Museum of Art. She earned her M.A. in Art History and C.A.S. in Conservation at the Institute of Fine Arts, New York University, where she is currently a member of the adjunct faculty. Prior to her current position, she held the Andrew W. Mellon Research Scholarship in Photograph Conservation at The Metropolitan Museum of Art and worked in labs at the Museum of Fine Arts, Boston, The Better Image, and New York Public Library. Her current research involves measuring color change in photographs over time using a spectrophotometer and micro-fade tester. The main goal of this work is to develop a better understanding of the effects of exhibition and climate conditions on photographic materials.
Ariel O’Connor Ariel O’Connor is currently an Objects Conservator at the Smithsonian National Air and Space Museum in Washington, D.C. Prior to Air and Space, Ms. O’Connor was an Assistant Objects Conservator at the Walters Art Museum, Assistant Objects Conservator and Samuel H. Kress Fellow at the Harvard Art Museums, and Andrew W. Mellon Fellow at the Metropolitan Museum of Art. Her research focuses on materials and technology in archaeological Asian art. Her archaeological fieldwork includes seasons at the Aphrodisias Excavations, Mugello Valley/Poggio Colla Archaeological Project, and Gordion Excavations Project. She holds an M.A. and C.A.S. in Art Conservation from Buffalo State College.
Don’t let this bad presentation happen to you!
https://www.youtube.com/watch?v=rIABo0d9MVE
The ECPN webinar program seeks to provide resources for issues faced by the conservation field, especially emerging conservators. “Emerging conservators” are defined as those with 7 or fewer years of experience (which includes schooling and pre-program). Contact a member of the ECPN Board for ideas on future webinar topics.
PMG Winter Meeting – "New Photo Histories in West Africa" by Erin Haney, Feb. 21
This was the final session of the 2015 PMG Winter Meeting. Speaker Erin Haney is an art historian and co-founder/co-director of Resolution, which hosted the 2014 “3PA” workshop in Benin. During the Q&A afterward, one conservator remarked that her talk “reminds us why we do what we do.” That couldn’t be more true. She provided an exciting glimpse of family and private photograph collections in West Africa that have not been widely seen nor studied. The stewards of important West African photography collections have recently started to come together to explore strategies for their preservation as well as raising their visibility worldwide.
She began by saying that West Africa has valuable historic photographs that won’t come up on Google searches. The reason is simply that these photographs tend to be dispersed widely in private and family collections. There are very few cultural institutions, archives and museums that have enjoyed stability from the colonial era to the present day. Some institutions have lost all or part of their photographic collections in times of political upheaval. Instead, it is primarily families and private owners who have safeguarded that region’s photographic heritage.
Haney showed just a few examples that reflect the diversity of images that can be found in these collections. These include photographs made during the colonial period, the images made by the great, early studios (often now in family collections of their descendants), domestic portraits, group portraits, and events of social and political importance. There are images of the social elite and the wealthy, showing a materially rich and cosmopolitan West Africa that is seldom seen, and a history that is seldom taught. She showed a daguerreotype by Augustus Washington, who went to Liberia from the US and made daguerreotypes in cities all along the West African coast. There were photographs made by the Lutterodt family, which established a far-reaching network of family photography studios that operated from the 1870’s to the 1940’s. There were British colonial scenes, portraits by early French-run studios, portraits of West African women and their Bordeaux trader husbands, and debut portraits–young women dressed in the finest cloth, showing their readiness for marriage. More recent images included Gold Coast soldiers, independence movements, city skylines and infrastructure, and prominent political figures. These are but a few of the many treasures in these collections, spanning the 19th and 20th centuries. There is an extraordinary variety of subjects and photographic traditions.
She showed how photographs were made and remade in order to improve them and preserve them. Some photographs took on new meaning as memorial objects when the sitter passed away. These could be marked with crosses, mounted, and/or captioned by loved ones. Other photographs that had condition issues over time might be heavily overpainted to refresh them. In one case, a painting of a Dutch ancestor was remade by photographing it, in order to present it alongside a group of other family portrait photographs. The original image was not sacred. To study these collections, one has to understand how the images functioned when they were made and how they continue to function. Theirs is an iterative practice of artistry, which must inform preservation and conservation decision-making.
Of grave concern today is that these collections are at risk when the custodians feel they must sell or dispose of them to reclaim the valuable space they occupy in a private home, or generate much-needed income. Resolution communicates the importance of photographic cultural heritage to people in West Africa and around the world. The Benin workshop provided participants with the skills to document and manage their collections, while networking with others in the region working toward the same goals. The workshop involved nine countries in Francophone West Africa and is actively building partnerships and capacity to make a case for the ongoing support of photographic collections. There is a growing recognition of their critical importance for national identity, education and research. It was an inspiring end to this PMG Winter Meeting.
PMG Winter Meeting – "Cataloging Is Preservation: An Emerging Consideration in Photograph Conservation Programs" by Robert Burton, Feb. 20
“Cataloging Is Preservation: An Emerging Consideration in Photograph Conservation Programs” was the first talk of the Biannual PMG Winter Meeting in Cambridge, MA, February 20-21, 2015. Speaker Robert Burton began with a quote from his mentor Sally Buchanan, who stated, “Cataloging is preservation.” Burton went on to show how that is no overstatement. In a sense, the goal of all conservation is to preserve materials to enable continued access to them, and there is a direct relationship between cataloging and access. Descriptive records in prescribed formats, organized under controlled headings, make photographs discoverable. This in turn sparks research interest, helps institutions identify preservation priorities, and even helps them organize storage more efficiently. Burton showed that cataloging is the foundation of a comprehensive view of collections management and preventive conservation.
A good record should answer the questions: who, what, when, where, why, and how? It gives an institution administrative and intellectual control over its photographic materials. Whereas books and other text-rich objects are more self-identifying, photographs require additional data to be contextualized, and collecting this data requires a cataloger with the appropriate training. A cataloger might be the first person to go through a photograph collection, and that person should possess visual literacy, an understanding of photographic processes, an ability to carry out basic preventive measures such as rehousing, and be able to bring objects in need of special care to the attention of conservators. Because different institutions have diverse approaches (different databases, digital asset management systems, missions, and constituents), catalogers must understand and apply data value standards to bring some consistency to searches for terms such as artists’ names, geographic place names, and so on. (Burton mentioned the Getty Art and Architecture Thesaurus and the Name Authority File from the Library of Congress as examples.)
Recent advances in digital recordkeeping and digital imaging have reduced the administrative burden of cataloging and have also reduced the need for over-handling photographic materials, which can result in handling damage. There are new technologies on the horizon that will help with cataloging, such as automatic captioning of newly created images, or giving photographers a way to record voice annotations as additional metadata. Nevertheless, catalogers will need to find a way to enter this information so it can be searched.
Without knowing its holdings, instititions will not be able to adequately value or safeguard their materials, nor will they be able to care for them. Uncataloged items are essentially invisible: vulnerable to loss, their condition and value unknown.
Burton acknowledged that few library school programs provide students with the opportunity to study photographic materials specifically. He urged this audience to view cataloging as a preventive conservation method on par with environmental monitoring, housings, and the like. He traced the development of this thinking to the 2002 Mellon survey at Harvard, which in turn became the model for the Weissman Preservation Center’s Photograph Conservation Program, and then FAIC’s Hermitage Photograph Conservation Initiative. These surveys show that, by coordinating conservation, cataloging, and digital imaging, photograph collections are more accessible and in better condition. This positive trend should continue as more institutions adopt Susan Buchanan’s mindset: “Cataloging is preservation.”
Getty Conservation Institute Announces Photographic Materials Conservation & Preservation Workshop (July 13-24, 2014)
The Getty Conservation Institute (GCI) is pleased to announce the third in a series of annual two-week workshops that focus on specific topics relating to the conservation and preservation of photographic materials. The workshop Photographs and Their Environment: Decision-making for Sustainability— will be offered from 13 – 24 July 2015 in partnership with the Institute of Art History, Academy of Sciences of the Czech Republic in Prague.
The workshop is open to fifteen mid-career conservators with at least three to five years of experience working in the area of paper or photograph conservation. Paper conservators should have prior knowledge of photographic processes and photograph preservation. Priority will be given to applicants currently working with these materials.
Additional information and an application are available on line. The deadline for application is March 16, 2015.
http://www.getty.edu/conservation/our_projects/education/cons_photo/advanced.html
If you have questions, you may contact euphotos@getty.edu<mailto:euphotos@getty.edu>
CALL FOR PAPERS: Conservation and Exhibition Planning: Material Testing for Design, Display, and Packing
The Lunder Conservation Center and the Foundation for the American Institute for Conservation, present
Conservation and Exhibition Planning: Material Testing for Design, Display, and Packing
http://www.conservation-us.org/materialstesting
Donald W. Reynolds Center for American Art and Portraiture
McEvoy Auditorium
800 G Street NW (8th and G Street)
Washington, D.C. 20001
This two-day event, hosted by the Lunder Conservation Center, on November 19 and 20, 2015, will be an opportunity for exhibition designers, mount makers, registrars, collection managers, conservators, and scientists to explore the challenges of how materials are selected for use with art objects.
The planning for appropriate collection care before, during, and after display is dependent on accessing reliable information about the materials we use. The production of fabrics, painted surfaces, mounts, foams, and board materials present many opportunities for the creative display of art objects. Understanding how these materials will react with artworks over time is a fundamentally challenging, but necessary, undertaking.
This conference will seek to convey practical considerations that facilitate and benefit collection care in museum exhibition workflows, and how they impact staff across departments. We hope to focus a large part of this conference on advances in the field of conservation science, in order to grant participants access to the available resources that address the challenging question of how the materials used in display and storage environments interact with the objects contained within. A particular focus of the conference will be the interpretation and sharing of analytical results from Oddy testing and alternatives to the Oddy test.
Call for Papers: Deadline March 13, 2015
- Original papers are invited for submission to focus on case studies and advances in:
- Designing exhibitions and fabricating display furniture
- Strategic approaches to collection care during the exhibition implementation process
- Designing storage environments
- Conservation work spaces
- Aspects of material testing: including Oddy testing and alternatives to the Oddy test
- Monitoring how materials change over time
Authors interested in presenting a paper should submit an extended abstract (400 – 600 words) by (March 13, 2015) to Christopher Wayner (waynercl@si.edu). Your work should be original and not previously published. Contributions of work-in-progress are also welcome. The abstracts will be reviewed by the conference committee and authors will be informed by May 2015.
NCPTT announces Mid-Century Modern Structures: Materials and Preservation 2015 Symposium
![By Daniel Schwen (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons](http://www.conservators-converse.org/wp-content/uploads/2015/01/St_Louis_night_expblend.jpg)
The NCPTT symposium on the materials and preservation issues of Mid-Century Modern Structures will be held in St. Louis, MO, on April 14-16, 2015. Go to ncptt.nps.gov to learn more. Register now!
This three-day symposium will feature a keynote speech on preservation of Mid-Century Structures by Gunny Harboe, plus 23 lectures, a panel discussion, poster session, and tours by leading professionals from across the country.
Major topics include:
- Preserving the Gateway Arch
- Establishing an appreciation for mid-century structures from ranch houses and commercial buildings to architectural icons
- Understanding preservation and materials issues in mid-century structures including metals, glass, concrete, and fiberglass
- Learning from case studies of unique buildings such as the Farnsworth House, Fallingwater, and the Knapp Centre
Distinguished speakers include: Justine Bello, David Bright, Mary Reid Brunstrom, Amanda Burke, Bradley Cambridge, Barbara Campagna, David Fixler, Ann K. Dilcher, Christopher Domin, Carol Dyson, Evan Kopelson, Joshua Freedland, Holly Hope, Catherine Houska, Nancy Hudson, Mary Jablonski, Pamela Jerome, Stephen Kelley, Walter Sedovic, Laura Kviklys, Alan O’Bright, James C. Parker, Joe Sembrat, Robert Silman, Tyler Sprague, Claudette Stager, Anne Weber, Ashley Wilson and more.
A special public lecture on Monday, April 13, at Washington University in St. Louis will feature Kevin Roche, Susan Saarinen, and Robert Moore. Video recordings of lectures and published proceeding will extend the symposium to a broad audience. Brought to you by the Friends of NCPTT, the National Park Service, the Jefferson National Expansion Memorial, the American Institute for Architects St. Louis, Washington University in St. Louis, and the World Monument Fund.
Read more at http://ncptt.nps.gov/events/mid-century-modern-structures-2/.
North Carolina Preservation Consortium Annual Conference
Significant Preservation: Inventories and Assessments for Strategic Planning
William and Ida Friday Center for Continuing Education
University of North Carolina at Chapel Hill
November 7, 2014
Inventories and assessments of heritage collections and sites are vital for meaningful strategic planning that conveys the importance of allocating scarce resources for preservation programs. Establishing the significance of tangible heritage to the communities we serve is essential for prioritizing conservation, storage, exhibition, and emergency planning decisions to protect cultural treasures for present and future generations. This conference will help you influence organizational, political, and community leaders who have the authority to improve preservation funding. Register today for a valuable learning experience with state, national, and international preservation leaders.
Keynote Speakers
Veronica Bullock is the Co-founder and Director of Significance International. She holds a bachelor’s degree in Prehistory/Archaeology from the Australian National University and a master’s degree in Applied Science (Materials Conservation) from the University of Western Sydney. Her fellowship at the International Center for the Study of the Preservation and Restoration of Cultural Property explored how significance assessments and risk assessments are taught in graduate conservation programs in Australia, Canada, the United States, and several countries in Europe. Ms. Bullock will provide an overview of the Significance Assessment methodology developed by the Collections Council of Australia.
Lisa Ackerman is the Executive Vice President and Chief Operating Officer of the World Monuments Fund and a Visiting Assistant Professor at the Pratt Institute. She holds a BA from Middlebury College, an MS in historic preservation from the Pratt Institute, and an MBA from New York University. Her professional service has included membership on the boards of the Historic House Trust of New York City, New York Preservation Archive Project, St. Ann Center for Restoration and the Arts, Partners for Sacred Places, Neighborhood Preservation Center, and the U.S. National Committee of the International Council on Monuments and Sites. Ms. Ackerman will present an introduction to the Arches heritage inventory and management system.
Dr. Paul R. Green is a Cultural Resources Specialist for the U.S. Air Force Civil Engineer Center, an Adjunct Associate Professor at Old Dominion University, and a modern Monuments Man. He holds a BS from Marshall University, MA from the University of Missouri-Columbia, and a PhD in Anthropology (Archaeology) from the University of North Carolina at Chapel Hill. Dr. Green is a member of the U.S. Central Command (CENTCOM) Historical/Cultural Advisory Group and the International Military Cultural Resources Working Group. He will address the challenges and importance of prioritizing global heritage collections and sites for the protection of cultural property during war and armed conflicts.
Lightening Session Speakers
Martha Battle Jackson is Chief Curator for North Carolina Historic Sites. She will provide an overview of the Museum Assessment Program (MAP) for Collection Stewardship sponsored by the American Alliance of Museums.
Andrea Gabriel is Outreach & Development Coordinator for the North Carolina State Archives. She will present an introduction to the Traveling Archivist Program (TAP) administered by the North Carolina Office of Archives & History.
David Goist is a painting conservator in private practice. He will give an overview of the Conservation Assessment Program (CAP) sponsored by Heritage Preservation.
Schedule
8:00 Continental Breakfast
8:30 Registration
9:00 Welcome
9:15 Significance Assessments
10:10 Morning Break
10:30 Arches Heritage Inventory & Management System
11:25 Round Table Discussions
12:00 Lunch
1:00 MAP, TAP, & CAP
1:55 Afternoon Break
2:15 Protecting Cultural Property
3:10 Round Table Discussions
3:30 Final Q & A
4:00 Closing
Networking
The NCPC annual conference is an excellent opportunity to meet collections professionals from a wide range of disciplines and organizations. Take advantage of morning and afternoon refreshment breaks, our communal lunch, and round table discussions to meet new colleagues and visit with old friends. Share your valuable experience and learn from others.
Conference Audience
This conference is designed for professionals, staff, and volunteers working in museums, libraries, historic sites, archives, conservation centers, archaeological collections, and other preservation institutions; advocates for preservation on friends boards, advancement councils, and advisory committees; those working in organizations with a preservation mission; members of the preservation industry; and faculty and students in conservation, museum studies, public history, archaeology, archives, library science, and other preservation disciplines.
Registration
NCPC is committed to keeping registration fees extraordinarily affordable to encourage attendance. Early Bird fees for registrations received before October 1st is $50 for NCPC members and $75 for non-members. After October 1st registration is $60 for NCPC members and $85 for non-members. Registration on-site is $70 for NCPC members and $95 for nonmembers. Those who register on-site are not guaranteed lunch. The registration fee for graduate students is $40 for early bird, $50 after October 1st and $60 on-site. Please register via the NCPC web site.
Scholarships
We value the involvement of students, working professionals, and volunteers whose institutional support is insufficient to attend this conference. NCPC offers a limited number of conference scholarships. This scholarship covers full registration. It does not cover travel, lodging, or other expenses. The application process is simple and consists primarily of telling us why attendance is important for you. The scholarship is intended to promote continuing preservation education and professional networking. Applicants must be employed by or volunteer at a North Carolina institution with a preservation mission that has little or no funding for professional development or a graduate student enrolled in a preservation related discipline at a college or university in North Carolina. To apply, please complete the scholarship form on the NCPC web site by October 1st. Early registration fees will be honored for any applicants who are not granted a scholarship.
Location
The conference will be held at the William and Ida Friday Center for Continuing Education at the University of North Carolina at Chapel Hill. Parking at the Friday Center is free. See Map & Directions.
Air Travel
The Raleigh-Durham International Airport (RDU) combines southern hospitality with high-tech amenities, making it one of the friendliest airports in the country.
Hotels
Several hotels are located near the Friday Center. NCPC does not designate a conference hotel.
Cancellation and Refund Policy
Registration fees are nonrefundable, however substitutions are permitted. In the unlikely event that the conference is canceled (due to adverse weather or other causes beyond our control) registrants will be notified and fees promptly refunded. NCPC accepts no responsibility in such cases beyond the refund of conference registration fees.
About the North Carolina Preservation Consortium
The North Carolina Preservation Consortium (NCPC) is a nonprofit organization dedicated to promoting the preservation of collections in libraries, museums, archives, and historic sites; monuments, memorials, and outdoor art; archaeological sites and collections; historic and cultural architecture; and private collections of family treasures. Learn more about NCPC at www.ncpreservation.org
Connect with NCPC
You can use social media to follow NCPC on Facebook, Twitter, and LinkedIn.
NCPC News
Would you like to receive the NCPC electronic newsletter and email announcements about NCPC programs and projects? NCPC News is free and open to all. Subscribe today.
NCPC Membership
The success of our statewide preservation program depends on the talents, diversity, and generosity of our colleagues. We are honored to welcome institution and individuals as members to the consortium. Our minimum annual institutional membership fee is only $100. Higher levels of support are greatly appreciated. Individual memberships are $25 for working professionals and $10 graduate students. Benefits of NCPC membership include discounts on our continuing education workshops and the annual conference, eligibility for grants and scholarships, networking and leadership opportunities, and recognition for supporting preservation in North Carolina. Together we can make a difference in the survival of our tangible and intangible heritage. Become a member by submitting your application today.
Friends of NCPC
Generous financial support from members, corporate sponsors, and the general public enhance NCPC services and programs. Donations may be given in honor or memory of someone special to you; an inspiring person, teacher, mentor, colleague, friend, or loved one. Your financial support will help NCPC preserve heritage collections and sites for present and future generations. Join the Friends of NCPC today or contact the NCPC Executive Director to discuss giving and fundraising opportunities.
For additional information about this conference contact:
Robert James
Executive Director
North Carolina Preservation Consortium (NCPC)
www.ncpreservation.org
PO Box 2651
Durham, NC 27715-2651
Phone 919-412-2238
Email: robertjamesncpc@gmail.com
Work-in-Progress Meeting for Emerging Researchers in Contemporary Art Conservation (Glasglow, UK)
Work-in-Progress Meeting for Emerging Researchers in Contemporary Art Conservation
3 December 2014, Glasgow
The Network for PhD Candidates and Postdoctoral Researchers in Conservation of Contemporary Art and the Network for Conservation of Contemporary Art Research (NeCCAR) are jointly organising a work-in-progress session for emerging researchers and cordially invite you to submit work-in-progress.
The work-in-progress session will take place in Glasgow, on 3 December 2014 in conjunction with the Authenticity in Transition: Changing Practices in Contemporary Art Making and Conservation conference held on 1-2 December 2014, organised by the University of Glasgow and the Glasgow School of Art.
The meeting offers a unique opportunity for emerging researchers in the field of contemporary art conservation to discuss each other’s work-in-progress in an informal, confidential and constructive setting. Work-in-progress may involve a draft chapter of your thesis or an article. Submitted texts will be pre-circulated among the participants and each author will receive feedback from at least one appointed senior scholar and a fellow participant.
For further information and application details please see:
http://www.incca.org/phdandpostdocnetwork-news/1440-work-in-progress-glasgow-2014
Please note the application deadline of Monday 20 October 2014.