Conferences, Courses, Workshops & Seminars – Page 5 – AIC Blog Archives: Conservators Converse

Joint 44th AIC Annual Meeting and 42nd CAC-ACCR Conference – Pre-session, May 13, “Share the Care: Collaborative Preservation Approaches, a Joint AIC /IAMFA Meeting” by Priscilla Anderson, Dawn Walus, and Patricia Miller.

Image of powerpoint slide with text "Collaboration is not about gluing together existing egos. It's about the ideas that never existed until after everyone entered the room." — Credit: Sarah Stauderman

This pre-session was a joint meeting between conservation professionals and facilities engineers, architects, and administrators who belong to the International Association of Museum Facility Administrators. The topic of the day was how to foster a collegial and collaborative working relationship between conservation and facilities staff so together we can preserve collections with well-managed storage and exhibition facilities. The day was structured in three sections, each with a panel of experts and a tabletop exercise. The three of us attended, and agreed to blog together as the day was jam-packed with inspiration and useful tips. We were hoping to learn strategies for building relationships with our facilities managers, including developing common language, shared understanding of goals, and respecting each other’s areas of expertise.
The first session, Share the Risk: Collaborative approaches to facilities construction, renovation, and operation was moderated by Joelle Wickens, (Winterthur Museum, Garden & Library). Key takeaways from this session were that no one person owns a facilities problem, and monthly meetings, meaningful and well-planned monthly meetings, are a good strategy for building relationships that successfully address the inevitable problems. Out of work time is also important…sharing a beer with each other was mentioned throughout the day as a way to break down those silo walls.

Image of workshop participants witting around a round table talking and laughing — Image courtesy of P. Anderson

Panelists included Jack Plumb (National Library of Scotland), John Castle and Lois Price (Winterthur), Rob Waller (Protect Heritage Corp), and Deborah Potter (Tate). One of Jack’s tips was to build in an orientation for new contractors with collections care to explain the local policies and behavior expectations that might be different from one jobsite to another. Jack also has a very interesting program for doing temperature and humidity mapping research using students from Heriot Watt University doing their dissertations. I wanted to know more about this program, and how to find students that are interested in this work!
Lois Price and John Castle got an NEH Sustaining Cultural Heritage Collections grant to improve their wireless building management system, and in the process, found that the working relationships between conservation and facilities staff, and each assumptions made about each other, were not so productive. So they set about doing a qualitative survey of their peers across the world, and they reported the results to us. The data set is rich, with lots of variable possible including institutional budget, frequency of joint meetings, rate of success, and decision-making rights. Their conclusions, while not statistical, point toward the fact that nothing can substitute for a good team, and the meeting more frequently can cure a number of long-standing challenges. For the skeptic who says “More meetings? I ain’t going to no more stinkin’ meetings” one merely has to say, “Let’s get you into the right meetings!”
Rob Waller talked about prioritizing different risks to collections, focusing on clearly defined goals. He explained the importance of filtering what falls under facilities managers’ ability to control. He reiterated that in many cases, the 80/20 rule applies: 20% of the risks contribute to 80% or more of the total risk, so these should be prioritized if at all possible.
Deborah Potter shared Tate’s collaborative approach to facilities planning for six sites, 72,000 works of art and a million library and archive materials. In debriefs from system failures, they discuss the impact on the collection, and approach how to prevent it from happening again, also taking a risk-based approach to collections care. Their team includes registrars, collections,, communications, and facilities staff. With a “green vision” aiming to reduce carbon emissions by 15%, they are embarking on an ambitious but doable program including energy plant and HVAC controls replacement, LED lighting, solar panels. Other sustainability initiatives include waste management, recycling, up-cycling, a flower meadow, and beekeeping! They’re not the only ones keeping bees…we found these on the roof just outside the door of the pre-session room!

Image of beehive and hexagonal wooden honeycomb sculpture on a roof — Image courtesy of P. Anderson

This first session ended with a tabletop exercise in which temperature and humidity parameters for an incoming loan challenge our fictitious small institution, stemming from poorly written loan agreement, lack of historical data, and lack of communication between the director and the staff. Of course we sorted it all out in 15 minutes, but with the understanding that these problems are ongoing and are exacerbated by the fact that we have no industry standards for libraries, museums and archives. One group noted that such agreements can be used as leverage to make needed upgrades.
The second session, Share the Planning: Collaborative approaches to emergency management, was moderated by Rebecca Fifield, Chair, AIC Collections Care Network, and Head of Collection Management, Special Collections at New York Public Library

Image of workshop participants seated around a round table smiling and talking — Image courtesy of P. Anderson

Collection Emergency Plans at Museum Victoria
Maryanne McCubbin, head of Strategic Collection Management for the Museum Victoria, presented the approach they have to managing risks in the multiple museum buildings and storage facilities where they house over 17 million state collection items. Citing recent floods that have tested their plan and preparedness, she emphasized how crucial it is for collections staff to communicate accurately and often with facilities and provide a liaison with facilities as well as emergency (first) responders (fire, police, authorities). She also commented on an often overlooked approach to managing risks, or inherent dangers, within a collection, such as hazardous substances in collections.
She stressed that a plan should be thorough yet brief. It can have appendices that provide more specific and detailed outlined activities for departments. However the plan should be developed through extensive negotiations with facilities, conservation and security. She cited a couple pitfalls for any great plan: failure to regularly induct new hires to the plan, especially in departments with high-turnover such as facilities and security; keeping contact information for key personnel up to date; reviewing incident reports to improve your plan; and practice!
The Lone Responder: Building an Emergency team with limited resources
Laura Hortz Stanton, Executive director of Conservation Center for Art & Historic Artifacts (CCAHA), discussed how crucial it is for small historic house museum, societies and municipal museums with limited staff and resources to connect with their local emergency management personnel. Reaching out to your local fire or police is important so they can become familiar with the building(s) as well as the contents, and key staff members. They can even review your emergency response plans and provide recommendations. Another key point was the importance of being prepared for the recovery after a disaster. “Who you gonna call?” A small museum that does not have a conservation and/or collections staff needs to keep an up-to-date contact list for local or regional collections professionals that can respond quickly to a call for assistance after a disaster of any size. She pointed out resources available online to help develop plans, including online templates and training, opportunities to benefit from mutual aid memberships in your state, local assistance networks, as well as AIC’s National Heritage Responders (NHR, formerly AIC-CERT). The majority of these links can be found on AIC’s website.
http://www.conservation-us.org/emergencies
NFPA Codes for Cultural Heritage Institutions
Nick Artim of Heritage Protection Group was not able to attend the session as scheduled. He did participate in the half day pre-conference session on Saturday titled Choosing and Implementing a Fire Suppression System for a Collecting Institution. (AIC Blog Link http://tinyurl.com/hhdtv6z) For more information regarding Codes and Standards for the National Fire Protection Association (NFPA) see links provided at the end of this blog post.
The session concluded with a tabletop exercise titled An 88-year old dam and a hurricane on the way! Teams were tasked with emergency planning for the fictional Decoy Museum, a small museum located on the coast of Maryland with a history of flooding. The museum is down river from an 88 year old dam and a hurricane is quickly approaching. Teams were shown a photograph of the exterior of the building and it’s proximity to the water, history of the site as it has fared in previous storms, images of the interior and a description of the collection. We were also told that our emergency plan is out of date and the only copy stored on a computer. Using the expertise at our individual tables we were asked to review our emergency preparedness and how we would respond in our respective roles. As the clock counted down we were provided with updates on storm progress, a status report on rising flood waters, and given a 24 hour evacuation notice to see how circumstances would affect our strategies.
Although initial discussions were focused on collections, most teams concluded that the safety of the public and staff came first, followed by securing collection data (hard drives/ records), securing the building, and initiating organization for return and recovery. Two key takeaways from the exercise included a discussion around FEMA’s Incident Command Structure and the concept of “dead” building. ICS is a standardized approach to the command, control, and coordination of emergency response. ICS offers flexibility to respond to small to large incidents, defining key roles to be filled rather than strictly identifying individuals. “Dead” building is a term used by facilities professionals to describe a full building shutdown and disconnection from utilities. As part of your plan it is important to know how long it will take to shut down your building as well as bring it back online.
The third session, Share the Responsibility: Collaborative approaches to selecting appropriate environmental guidelines, was moderated by Patricia Silence, Director of Preventive Conservation, Colonial Williamsburg.

Image of four speakers seated at the podium table talking and laughing — Image courtesy of P. Anderson

Select Guidelines and Standards
Selecting guidelines and standards can’t be boiled down to just a number because it depends on factors such as the building envelope, outside air temperatures, HVAC equipment, climate, etc. and how well their interaction matches capability of building and environment. The speakers discussed using guidelines and not standards as a basis for procedures and policies, and how to maintain the notion that the indoor environment is a fundamental component to preservation of collection. Other key points made by this panel included:

Consistent monitoring leads to meaningful conversations
Environmental control includes lighting, ventilation, and pest control in addition to temperature and RH
Customized specifications should be developed for each institution and collection, looking for “parameters in lieu of more science” and reinforcing the point that “70/50 is no longer an appropriate, practical, sustainable, or useful set-point.”

This session ended with a table-top exercise involving an old swimming pool, a famous elephant, and a collection of ivories that need special environmental controls for exhibition. There was role-playing and even name-calling, and things got a little silly, but it was a great way to end the day.
A number of useful references were shared:
ASHRAE (American Society of Heating Refrigeration and Air-Conditioning Engineers). 2011. Chapter 23 of ASHRAE Handbook – Heating, Ventilating, and Air-Conditioning Applications.
https://www.ashrae.org/resources–publications/handbook
BSI (British Standards Institute)
PAS 197:2009 Code for Practice for Cultural Collections Management
http://shop.bsigroup.com/en/ProductDetail/?pid=000000000030175180
PAS 198:2012 Specification for Managing Environmental Conditions for Cultural Collections
http://www.bsigroup.com/en-GB/about-bsi/media-centre/press-releases/2012/3/New-standard-from-BSI-helps-protect-the-UKs-cultural-collections-and-address-carbon-emissions-/#.VvVSOHqFnfc
PD 5454:2012: Guide for the Storage and Exhibition of Archival Materials
http://shop.bsigroup.com/ProductDetail/?pid=000000000030228041
CEN (European Committee for Standardization) BS EN 15757:2010: Conservation of Cultural Property-Specifications for Temperature and Relative Humidity to Limit Climate-Induced Mechanical Damage in Organic Hygroscopic Materials
http://shop.bsigroup.com/ProductDetail/?pid=000000000030173518
IAMFA Cultural Institutions Benchmarking Exercise
http://newiamfa.org/museum-benchmarks.php
ISO (international Organization of Standardization) ISO 11799:2015: Information and documentation – Document storage requirements for archive and library materials
http://www.iso.org/iso/home/store/catalogue_tc/catalogue_detail.htm?csnumber=63810
National Archives and Records Administration – (US)– 2002. Archival Storage Standards, NARA Directive 1571
https://www.archives.gov/foia/directives/nara1571.pdf
NFPA (National Fire Protection Association)
NFPA 909 : Code for the Protection of Cultural Resource Properties – Museums, Libraries, and Places of Worship, 2013.
http://www.nfpa.org/codes-and-standards/all-codes-and-standards/list-of-codes-and-standards?mode=code&code=909
NFPA 914: Code for the Fire Protection of Historic Structures, 2015
http://www.nfpa.org/codes-and-standards/all-codes-and-standards/list-of-codes-and-standards?mode=code&code=914
National Museum Directors’ Conference. Guiding Principles for Reducing Museums’ Carbon Footprint, 2008
http://www.nationalmuseums.org.uk/what-we-do/contributing-sector/environmental-conditions/
Proceedings of the Smithsonian Institution Summit on the Museum Preservation Environment, 2016
http://opensi.si.edu/index.php/smithsonian/catalog/book/111

44th Annual Meeting – Workshop, May 14, "Gellan Gum Applications for Paper-based Objects"

I was very excited to see Gellan Gum Applications for Paper-based Objects listed on the workshops for AIC/CAC, but I was also a little worried about signing up. My familiarity with gums in paper conservation was limited to reading the odd DistList posting. Would it be too technical? Would I be in over my head?

I shouldn’t have worried. The facilitators from Library and Archives Canada and the Canadian Conservation Institute put me at easy immediately, and the group introductions reassured me I wasn’t the only novice in the group.
We began the morning with a presentation covering both a theoretical and practical introduction to gellan gum. Crystal Maitland did an excellent job of explaining the science behind the use of gellan gum without overwhelming us with too much technical detail. After the getting the theoretical grounding Doris St-Jacques, Greg Hill and Anne Maheux took over and shared some of the practical treatments which had been performed at CCI and LAC.
From there we headed down to the Canadian Centre for Architecture’s inviting lab. It’s always exciting to visit another institution “behind the scenes” and CCA’s facilities did not disappoint. Despite the large group everyone had their own workspace prepared for them with all the tools and samples we’d need for the day.
One of the real strengths of the workshop was exactly how much hands-on experience we gained. We split in to two groups to watch Doris and Greg prepare batches of gellan gum and then in to groups of three to give it a try ourselves. The process proved to be fairly simple, especially with the help of the excellent workshop leaflet. It included clear instructions and my favourite kind of diagram – one which does all the ratio math for me! In addition to the recipes the leaflet also included figures outlining the order of layers for different kinds of gellan gum cleaning and instructions for bleaching and deacidification. All together a very useful document.

Every participant was provided with a print which had been cut in to four sections for testing cleaning, deacidifying and bleaching. Many participants also brought their own samples. This was an excellent bonus, allowing everyone to see the effects on a wide variety of materials.

Each group began by mixing up their own batch of gellan gum. These set by the end of the day, allowing us to test our handy work, but the facilitators had also prepared a large number of sheets of with a variety of concentrations and additives. It was very informative to be able to play around with the assortment. Very few institutions have to resources to create such a wide variety of gels just to allow their conservators to gain the experience of the different properties, making this an invaluable experience
.
The gellan gum workshop accomplished something I was sure was possible at the start of the day. It allowed me to leave feeling confident enough in my skills that I’m looking forward to trying out gellan gum in my own lab. And if turning an intimidated rookie in to a confident tester isn’t the sign of a great workshop then I don’t know what is!

C2CC Webinar 7/7: Seeding Engagement and Cultivating Volunteers through Crowdsourcing

Crowdsourcing is a method of gathering information and data generated by audiences as a collaborative, distributed problem-solving exercise to address tasks that might otherwise be overwhelming. At our next C2CC webinar, learn about using crowdsourcing to engage with and invite audiences to help improve your collections. Join us July 7, 2:00 EDT. It’s free!
http://www.connectingtocollections.org/seeding-engagement-and-cultivating-volunteers-through-crowdsourcing/
Connecting to Collections Care (www.connectingtocollections.org), a program of the Foundation of the American Institute for Conservation, provides free training and resources to help smaller cultural institutions take better care of their collections.

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

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

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

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

The living room in the Main House on Ossabaw Island, GA.

FAIC’s Ossabaw Housekeeping Guide provides yearly, quarterly, monthly, and weekly care recommendations specific to the main rooms of the house based on the objects and materials in the room. Pests, light levels, temperature, and relative humidity were monitored, with recordings included in the guide. Suggestions for crisis housekeeping are also included, and may be incorporated in a full disaster plan in the future.
For several reasons, including difficulty in getting to the island, FAIC had to find a new location for the historic house training workshop. The 2016 workshop is currently taking place with eight participants and five instructors at Staatsburgh State Historic Site, a property owned by the New York State Bureau of Historic Preservation. Keep an eye out for blog posts by the participants coming soon.
As West’s time on Ossabaw Island ends and the state prepares to take over the Main House, they are equipped with a solid resource for implementing a standard of practice and recommendations to be considered for the future care of the historic home.
You can find a review of the program from a 2012 participant on the blog: http://www.conservators-converse.org/2012/10/review-of-faic-preventive-conservation-workshop-ossabaw-island-ga-january-7-20-2012/ and an article on a workshop presented as a talk at our annual meeting in San Francisco (from which the above photographs have been reposted): http://www.conservators-converse.org/2014/06/42nd-annual-meeting-collection-care-session-may-29-the-ossabaw-island-workshops-preventive-conservation-training-in-a-real-life-setting-by-david-bayne/

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

Speakers announced for SI/MCI Mechanics of Art Materials event

Arts & Industries Building, Smithsonian Institution

The Museum Conservation Institute in collaboration with the Royal Danish Academy of Fine Arts (KADK) is pleased to announce the speakers for our upcoming event “The Mechanics of Art Materials and its Future in Heritage Science: A Seminar and Symposium,” to be held at the Smithsonian Institution on October 24-25, 2016. This program brings experts in mechanics research from across the globe to discuss current and future trends in the study and preservation of cultural heritage. Speakers will represent a continuum of this research, from its origins to those professionals currently working to shape their field and train future generations of scholars. This special event is designed to honor previous research while encouraging forward thinking through opportunities to meet and hear from scholars at the forefront of innovative mechanics research in the cultural heritage sector.
Day One of the program will feature the popular paint mechanics workshop created and taught by MCI scientist emeritus Marion Mecklenburg, condensed into a single-day seminar. The morning program on Day Two will feature an international group of speakers presenting case studies on the state of mechanics research around the globe, while the afternoon program will feature emerging U.S.-based speakers and their thoughts on the future of the field. We are excited to announce that the following speakers have been confirmed for Day Two of this event:

Cecil Andersen (Royal Danish Academy of Fine Arts) and Laura Fuster-López (Polytechnic University of Valencia)
Roman Kozłowski (Jerzy Haber Institute of Catalysis and Surface Chemistry, Polish Academy of Sciences)
Stina Ekelund (Netherlands Institute for Scientific Research)
Nobuyuki Kamba (Tokyo National Museum)
Poul Klenz Larsen (National Museum of Denmark) and Morten Ryhl-Svendsen (Royal Danish Academy of Fine Arts)
Michał Lukomski (Getty Conservation Institute)
Alice Carver-Kubik (Image Permanence Institute, Rochester Institute of Technology)
Ken Shull (Northwestern University/Art Institute of Chicago Center for Scientific Studies in the Arts)
Lukasz Bratasz (Institute for the Preservation of Cultural Heritage, Yale University)

This intensive, two-day event will provide attendees with an overview of the behavior of art materials and connect that information directly to the activities of those scholars currently shaping the field of heritage mechanics studies. Day Two presentations will focus on the impact of mechanics research in the cultural heritage sector with talks on topics including risk assessment and collections monitoring, the fiscal impact of changes in collections care, new protocols for transit and storage environments, and the application of mechanics research to decorative and archival collections as well as to materials found in contemporary art. Day Two will conclude with a panel discussion on advancing stakeholder participation in mechanics research and application. A post-event publication will include a historiography of mechanics research at the Smithsonian, the case studies and vision papers prepared by the Day Two speakers, Dr. Mecklenburg’s 1982 unpublished report to the Smithsonian on the mechanical behavior of painting materials, and a bibliography of Smithsonian heritage mechanics publications.
We are anticipating registration for this two-day event to be priced at $50 (to include coffee/tea breaks and lunch on both days. There is no single-day registration option. Schedule and registration for this event will be announced at www.si.edu/mci. If you have any questions, please contact Dawn Rogala, paintings conservator at the Museum Conservation Institute, at RogalaD@si.edu.
This event is designed to engage and inform a broad audience of scholars, students, practitioners, and policy makers. We hope to see you in October!

44th Annual Meeting – Electronic Media Group Session, May 15, "Matters in Media Art III: Sustaining Digital Video Art" by Martina Haidvogl and Peter Oleksik

This talk announced the completion of the latest phase of the Matters in Media Art project focusing on digital preservation and assessment of digital video, and marked the official re-launch of the project’s website, mattersinmediaart.org. The website is the product of a collaborative effort over many years by teams of staff members from Tate, the Museum of Modern Art in New York, the San Francisco Museum of Modern Art, and the New Art Trust. In this talk, Peter Oleksik and Martina Haidvogl, media conservators at MoMA and SFMOMA respectively, provided a background and history of the Matters in Media Art project and walked the audience through the new website.

The New Art Trust was founded in 1997 by Pamela and Richard Kramlich, pioneering collectors of media art. In 2003 they approached the three museums with some funds to gather the four institutions together to discuss emerging practices in the care of media art, and the “Matters in Media Art” project was born. The first phase focused on lending and was launched in 2005. The second phase launched in 2008 and focused on acquisitions, and the third phase began in 2011. The scope of the third phase was originally going to be sustaining digital art; however, this proved too broad, as it could have included all digital art (software-based art, web-based/net art, graphics, and more). The effort was instead fine-tuned to focus on digital preservation and assessment of digital video. The speakers explained that the length of the third phase exceeded the other two not only because the original scope was too broad, but because the field was evolving so rapidly that material they were creating ended up in a constant state of revision. To address this, the group made two decisions: first, to launch a new website encompassing all phases of the project at this AIC Annual Meeting (to provide a much-needed deadline), and second, to create a dynamic resource that could evolve with ongoing input from the wider conservation community. They felt that the project should be a resource for multiple audiences and provide a framework for ongoing collaboration, rather than represent a single perspective and a static endpoint.

The new Matters in Media Art website is hosted on Github, situating the content in an open-source environment where anyone can make suggestions for revisions and additions. The group felt that moving away from closed platforms and static white papers would enable these resources to stay current despite the dynamic pace of change in the field generally. The text of the website was written by teams at the partner institutions and collaboratively edited during bi-weekly virtual meetings. The design team created mock-ups and design tests, coordinated user trials, and solicited and consolidated pre-launch feedback from users within and outside the conservation community. All the work on the third phase was done as a volunteer staff effort with no grant or other project-specific funding.

The speakers then walked the audience through the site in real time. They explained that materials from the first two phases required only minimal updates. The teams worked to ensure there is no outdated information from the first two phases on the site. The new “Documentation” section includes cataloging, condition reports, and assessing digital video. The new section on “Sustaining Digital Art” describes how to store digital works successfully. This section is framed by a survey as a first step that guides the reader through the rest of the section, enabling the reader to develop a plan specific to their needs.

The new material speaks to all audiences: individual, collector, and institution. Some in the audience remarked that this made the recommendations less focused and the site text-heavy. The speakers agreed that it was ambitious and emphasized that the teams want, invite, and need feedback to make refinements and speak to multiple audiences even more effectively.

Contribution guidelines were recently finalized on the website and include ways for users to provide feedback via Github or in a simple online survey. The speakers urged the audience to visit the site and provide their opinions. The project was also announced with a flyer provided to all conference attendees, to encourage anyone dealing with media conservation at their institution to consult this valuable new resource.

44th Annual Meeting – Electronic Media Group Session, May 15, "Videotape Deterioration Mechanisms and Conservation Remedies: A Primer" by Erik Piil

Erik’s talk provided a survey of deterioration mechanisms and the evolution of corresponding treatment literature, as well as some novel approaches to condition assessment and treatment.

He opened with a discussion of “sticky shed” syndrome, in which a hydrolysis reaction in an environment with high RH causes the binder layer on magnetic tape to become unstable. During playback, this softened binder leaves a residue on the playback heads, which can damage the tape and clog the heads. While waveform monitors and vectorscopes can’t help diagnose this condition, a less common scope, tracking RF (the unmodulated RF signal put into waveform) can give a kind of “EKG” of the video signal. Erik showed normal vs. abnormal RF envelopes — the abnormal one indicates head-clogging due to sticky shed. This causes loss of signal and eventually complete loss of image. RF monitoring can help differentiate between sticky shed and other issues, such as a transfer done with an overstretched tape, poor head alignment, and deterioration due to tape wear. For instance, abrasive wear (such as that caused by a particulate scraped down the tape) can cause a ripple in the RF but looks very different on the scope from the abnormal RF envelope caused by sticky shed.

Erik also described the damage that could be caused by abrasive wear. He described various surface cleaning methods that can be employed to remove particles that could cause abrasive damage during playback. These include cleaning open-reel videotape by wrapping dusting paper around the playback heads; however, some tapes have a carbon black back-coating that is susceptible to sticky shed, so it is important to verify that neither the magnetic binder nor the back coating are compromised before cleaning. Other cleaning methods have included using isopropyl alcohol to clean the tape during playback, and using Pellon on both the oxide layer and carbon black back-coating to trap loose oxide particles, along with a vacuum to draw those particles away. Surface cleaning machines integrating these methods can be purchased off-the-shelf (such as Bow Systems 432 open-reel videotape cleaner for enterprise-level use). Alternatively, Erik showed a prototype for a cleaning machine that he is presently testing with Video Data Bank (VDB). It uses open-source circuitry (Arduino-based), approximately $1,200 in parts, and custom spindles. The design is available on GitHub: epiil open-cleaner.

Erik discussed the history of thinking on the baking of tapes exhibiting sticky shed. While this may temporarily restore binder integrity to enable transfer of the content, it does not cure the condition, and is controversial. Some maintain that baking damages the behavior of oxide particles, as well as the mechanical behavior of the pack, while others see it as necessary in order to rescue content from deteriorating sources.

In terms of condition assessment, several research projects are underway to advance scientific understanding of deterioration mechanisms. Among these is the University of South Carolina’s development of a non-invasive test for sticky shed using ATR-FTIR. Not only does this kind of scientific research enable the field to develop best practices based on data rather than anecdotal evidence, it also gives practitioners much-needed tools for non-invasive condition assessment. Presently, condition assessment is largely accomplished through observation of playback, which can cause damage before vulnerability can be ascertained.

Throughout the presentation, Erik shared resources to consult that show the evolution of approaches to condition assessment and treatment of magnetic tapes:

Bharat Bhutan, “Mechanics and Reliability of Flexible Magnetic Media” Springer; 2nd edition (May 31, 2000)
Walter Forsberg & Erik Piil, “Tune In, Turn On, Drop Out: Section 108(c) and Evaluating Deterioration in Commercially Produced VHS Collections” Annual Review of Cultural Heritage Informatics 2012-2013, Facet Publishing (July 2014)
Tony Conrad, “Open Reel Videotape Restoration” The Independent, AIVF, Volume 10, Issue 8, Number 8 (1987) – describes what was a pioneering treatment at the time for sticky shed
Charles Richardson, “The New “Non-Baking” Cure for Sticky Shed Tapes” ARSC Journal, Vol. 44, No. 2 (Fall 2013) – makes a case against baking; advocates for adoption of the cleaning machine developed by the author

Erik invited the audience to visit GitHub to follow the progress of his affordable, open-source open-reel videotape cleaner, and to contribute or comment. This is an exciting project that will make a quality cleaning machine feasible for institutions on limited budgets. The novel use of the tracking RF scope and the look at historic as well as contemporary treatment literature for videotape conservation were two other highlights of this talk.

Joint 44th AIC Annual Meeting and 42nd CAC-ACCR Annual Conference–Workshops, Saturday May 14, 2016, "Identification of East Asian Papers for Conservation" by Nancy Jacobi and Megumi Mizumura

When I saw the “Identification of East Asian Paper for Conservation” workshop, I began to review what I knew about the subject and decided I could benefit from further education on the matter. I signed up for the workshop hoping to become more confident in my understanding of East Asian papers and I was not disappointed. Besides, what is more exciting than dedicating three hours to talking about paper?

Paper sampler given to workshop participants.

The aim of this workshop was to help participants recognize the characteristics that denote paper quality to aid them in selecting good quality East Asian papers that meet conservation standards.
Presentations

Megumi Mizumura, a paper conservator at The British Museum, presented first. In addition to providing historical context for Japanese, Chinese, and Korean papermaking, she went into great detail about the Japanese papermaking process. Mizumura’s presentation illustrated how different steps of the papermaking process may affect paper quality.

Slide from Mizumura's presentation: 'Various Alkalies for Cooking Kozo.' — Slide from Mizumura’s presentation: ‘Various Alkalies for Cooking Kozo.’

She revealed that some papers thought to be of good quality by conservators may actually be poor quality due to changes in fiber furnish and manufacturing processes. The fiber furnish may be a blend of low grade, cheap kozo from Thailand, wood pulp, or other plant fibers. (Thai kozo is the lowest grade kozo because it grows quickly causing the fibers to be less flexible and contain oils that are difficult to remove during the cooking process.) Aggressive chemical steps to quickly cook fibers and bleach pulp are also detrimental to papers, decreasing stability of the fibers after aging. Mizumura highlighted some important details for conservators to be cognizant of when selecting papers:

the source of the kozo fiber–Japan, China, Thailand, or Paraguay
preparation of the fibers–the degree of detail used to separate bark layers when preparing the fibers, hand-beaten or machine-beaten
alkaline cooking processes used to prepare the fibers–wood ash, slaked lime, soda ash, or caustic soda
bleaching processes–no bleaching, natural bleaching with sunlight, or chemical bleaching with chlorine based bleaches or hydrogen peroxide
method of manufacture–handmade or machine made
drying methods–wooden boards, stainless steel plates, or metal rollers
Possible additives–sizing, fillers, dyes

Mizumura’s presentation provided conservators with a foundation for making better informed selections of papers for treatment.

Slide from Mizumura's presentation: 'Factors to Consider When Choosing Japanese Paper.' — Slide from Mizumura’s presentation: ‘Factors to Consider When Choosing Japanese Paper.’

Nancy Jacobi, head of The Japanese Paper Place (http://www.japanesepaperplace.com/), followed Mizumura’s presentation expanding upon Japanese papermaking. She emphasized the beauty of a well made sheet of paper and the endangered nature of the papermaking profession in Japan. Jacobi then discussed the introduction of East Asian papers to the West and their uses by artists and, later, conservators. She shared two recurring degradation issues observed during her work at Cape Dorset, Canada in identifying Japanese papers used for relief prints by the Inuit since the 1950s. Jacobi noted oil stains in the supports caused by oils leaching out of the fibers which is characteristic of Thai kozo. She also observed pervasive, small foxing spots in papers caused by the use of uncoated metal dryers to quickly dry finished sheets of paper. Jacobi’s observations reiterated the dangers of not knowing materials, and manufacturing processes of East Asian papers used for conservation. The changes in paper quality may be a reflection of the pressure on the dwindling number of papermakers to meet high demands for East Asian papers. Takao Moriki, third generation president of the Moriki Paper Company (http://morikipaper.co.jp/), was also present and supported the workshop material with knowledge of the subject gained from personal experience and research of these materials.
Paper Identification Exercise

During the hands-on portion of the workshop, we put our knowledge of East Asian papers and observation skills to the test. Using the sample books received for the workshop, we examined several samples at a time. Jacobi prompted our observations with questions requiring us to differentiate between some of the following characteristics:

quality
fiber furnishes
fiber preparation
cooking or bleaching processes used
drying methods used
handmade or machine made papers
additives

Once we had done our best to distinguish the various characteristics of our samples, we checked our answers against the key provided. The answer key contained a detailed break down of the papers listing the name, the region it was from, fiber furnish with fiber origin and percentages for fiber blends, machine made or handmade, fiber preparation, cooking process, bleaching, drying methods, additives, weight, and original sheet dimensions. The workshop organizers also brought their study collection with many other samples of East Asian papers for us to examine in addition to those in our sample books. Additionally, discussions related to experiences in using East Asian papers were cultivated amongst workshop participants.
Below are images of some of the papers in our sample books that I find really interesting.

5-A Kurotani #4 from Kyoto: handmade, japanese kozo, soda ash cooking, no bleaching, dried on stainless steel sheet. 5-B Okawara from EhimeL handmade, Thai kozo, caustic soda cooking, chlorine bleaching, dried on stainless steel sheets. — 5-A Kurotani #4 from Kyoto handmade with Japanese kozo, not bleached
5-B Okawara from Ehime handmade with Thai kozo, bleached

8-C Kaji Natural from Ehime: Hand made, thai kozo 90% and wood pulp 10%, caustic soda cooking, chlorine bleaching, direct synthetic dye, and stainless steel sheet drying. 8-D Matsuo Kozo from Fukuoka: handmade, japanese kozo, caustic soda cooking, chlorine bleaching, direct synthetic dye, and stainless steel sheet drying. — 8-C Kaji Natural from Ehime handmade with blended fibers and synthetic dye
8-D Matsuo Kozo from Fukuoka handmade with kozo and synthetic dye

3-A Sekishu Mare from Shimane (UNESCO grade): handmade, Japanese kozo, hand beaten, soda ash cooking, no bleaching, dried on wooden boards. 11-C Xuan paper made at Red Star--tan tree and rice straw fiber, grade is special bark made, Mian Lian (thinnest paper thickness) used for caligraphy 11-A Hanji made in Korea with kozo fibers — 3-A Sekishu Mare from Shimane (UNESCO grade) handmade with japanese kozo fibers
11-C Xuan paper made at Red Star with tan tree and rice straw fiber
11-A Hanji made in Korea with kozo fibers

Conclusion

This workshop raises awareness for the necessity of thoroughly understanding the materials used for conservation treatments. The hands-on exercise was a good challenge and essential for learning the characteristics that mark good quality paper. The workshop provided a good foundation and clear direction for conservators to work towards mastering the identification of East Asian papers.
The information I learned through this workshop will be very useful for guiding my decisions when selecting papers in the future. I truly appreciated the organizers’ passion for East Asian papers. It was a pleasure to peruse the additional samples in the study collection while talking about paper with all workshop participants.

Joint 44th AIC Annual Meeting and 42nd CAC-ACCR Annual Conference — Book and Paper Session, May 16th — “The Coptic Binding Collection at The Morgan Library & Museum: History, Conservation and Access” by Georgia Southworth and Francisco H. Trujillo

Georgia Southworth, Independent Book Conservator, and Frank Trujillo, Associate Book Conservator at The Morgan Library & Museum, closed out Monday morning’s Book and Paper session with a fascinating talk on the history and rehousing of The Morgan’s singular collection of Coptic bindings.
The story of the Coptic bindings at The Morgan Library & Museum began in 1910 with the discovery of a cache of nearly sixty volumes dating from the 9^th and 10^th centuries CE. Found in Hamouli, Egypt, these volumes made a circuitous journey with stops in France, the United States, and Italy, before coming to rest New York in the 1920s. During the nearly thirty years between their discovery and their arrival at The Morgan, the parchment textblocks were separated from the covers, never to be reuinited. While the textblocks were extensively treated at the Vatican Library, the covers were packed away, presumably with the intention of addressing them at a later time. Unfortunately, World War I and J. Pierpont Morgan’s death interfered with the planned project to photograph and restore the collection, extending the timeline by several years. The covers, which had been consolidated with oil and wax, and in some cases lined with gauze, were not returned to The Morgan until 1929. They remained packed away until 1984, when Deborah Evetts, then the Drue Heinz Book Conservator, found them still stored in their Vatican shipping crates.
The covers are comprised of laminated layers of papyrus covered with leather. The decoration of the leather ranges from simple cold-tooled designs to elaborate compositions incorporating layers of colored and gilt leather and parchment that have been cut, pierced, and interlaced to create complex and beautiful designs.

MS M.569, Gospels binding ca. 850 CE; Image courtesy of The Morgan Library & Museum — MS M.569, Gospels binding ca. 850 CE;
Image courtesy of The Morgan Library & Museum

The condition of the covers varies widely; while some are almost completely intact, others are brittle, fragmentary, and riddled with wormholes. Attempts to devise a housing method for these exquisite objects had been ongoing since they were re-discovered in 1984. In consultation with Christopher Clarkson, Deborah Evetts performed minor stabilization treatment on a few of the covers, and tested several housing prototypes. The ideal housing would protect and support the covers, while still allowing for easy access and viewing of both sides of each board.
Previous prototypes included deep sinkmats, Plexiglas sandwiches, and simple matboard folders lined with glassine. One prototype was made of layers of Plexiglas cut to fit the perimeter of the cover to create a customized well. Unfortunately, this design was also heavy, and caused the fragile covers to rest against a hard surface.

Two Coptic cover housing prototypes, with half-size facsimile covers; Image courtesy of The Morgan Library & Museum — Two Coptic cover housing prototypes, with half-size facsimile covers;
Image courtesy of The Morgan Library & Museum

Coptic cover housing prototype, showing layers of custom-cut Plexiglas; Image courtesy of The Morgan Library & Museum — Coptic cover housing prototype, showing layers of custom-cut Plexiglas;
Image courtesy of The Morgan Library & Museum

The final housing design incorporated the idea of a custom recess, and used separate layers to allow the sides of each cover to be viewed without direct handling.
The material selected to create the well was soft, inert, non-abrasive Volara foam. Each cover was carefully traced, and the outlines were sent to the University of the Arts in Philadelphia, where they were laser cut into the foam. The layers of foam are sandwiched between two pieces of 1/8” Artcare archival foam board to create a light and rigid support. A full sheet of Volara is adhered to each piece of foamboard, and two inner layers of Volara are laser cut to the shape of each cover. These wells are slightly larger than the covers, providing protection without actually touching the fragile edges.

Inner sandwich of foamboard and Volara; Image courtesy of The Morgan Library & Museum — Inner sandwich of foam board and Volara;
Image courtesy of The Morgan Library & Museum

Foam pegs keep the layers aligned, but allow them to be separated to expose the sides of the covers. When closed, the layers are held securely in place by these pegs, allowing the sandwich to be flipped to show the verso of the cover. This light, rigid sandwich is stored inside a Talas e-flute reinforced clamshell box. A linen tab was added to the interior of each box to facilitate removal of the sandwich. For easy storage, three standard sizes of clamshell were selected.

The final enclosure solution for the Coptic covers, showing custom Volara trays, linen pull tab, and e-flute clamshell box; Image courtesy of The Morgan Library & Museum — The final enclosure solution for the Coptic covers, showing custom Volara trays, linen pull tab, and e-flute clamshell box;
Image courtesy of The Morgan Library & Museum

This solution worked well for the covers and large fragments. Smaller fragments were stored separately in Mylar envelopes, which were barcoded to associate them with their parent binding. These envelopes of fragments were stored together in a separate box.

Fragments were stored separately, in bags barcoded to associate them with the correct binding; Image courtesy of The Morgan Library & Museum — Fragments were stored separately, in bags barcoded to associate them with the correct binding;
Image courtesy of The Morgan Library & Museum

The final element of this project was the creation of high-resolution images of all the bindings. These images are currently being processed, and will soon be available to the public via The Morgan’s website. In the meantime, I’m sure that many of us will have ideas for applying this novel housing concept to objects in our own collections. Thank you, Georgia and Frank, for an excellent talk!

Joint 44th AIC Annual Meeting and 42nd CAC-ACCR Annual Conference — Book and Paper Session, May 16th — “Push Pins, Staples, Daylight, Glazing and Barrier Free: Are conservation standards becoming too relaxed?” by Joan Weir

In the BPG session on Monday, May 16, Joan Weir gave voice to a question that has undoubtedly plagued the sleep of many of her colleagues: are conservation standards, particularly when it comes to exhibition, becoming too relaxed? In her role as Conservator for Works of Art on Paper at the Art Gallery of Ontario, Ms. Weir has gained extensive experience with the challenges of exhibiting contemporary art. Noting that the range of artifacts classified as “works of art on paper” is very broad, Weir commented that it can be difficult to set consistent boundaries and guidelines for exhibition practices. Some touchstones are available to conservators, including AIC’s Code of Ethics and intellectual property laws. I was interested to learn that in Canada, artists retain “moral rights” to their work, even if they no longer hold economic rights to the work. This moral right allows artists to protect their work from changes that might compromise their original intent, including changes in how the work is displayed.*
To illustrate the challenges inherent in exhibiting contemporary art, Weir presented several case studies. The first example was Richard Serra’s 9’ by 21’ oilstick on paper, Untitled, 1974 (presented at the 2013 AIC Annual Meeting, and blogged by Karen Dabney). The artist’s intention was that the work be stapled directly to the gallery wall, and shown without any barrier. Weir and her colleagues collaborated with Serra and a studio assistant to develop a protocol for installing the work, which toured to several locations. They created mockups to practice the installation protocol, and to try to answer what Weir called “a world of nerdy conservation questions,” such as: what kind of staples should be used? What kind of stapler? Do the staple bands need to come into contact with the paper? Should existing staple holes be used? The same two-person team traveled to all exhibition venues to carry out the installation, and an agreement was reached to station a guard in the gallery at all times, to compensate for the lack of a physical barrier. While the protocol was largely successful, Weir noted that it is often the case that “once you go there, you can’t go back” – stapling is now considered an option for other exhibits.
The next case study was installation of large, unglazed wax pastels for AGO’s 2015 exhibition Stephen Andrews POV, which were hung using a temporary tab of sheer polyester attached to the work using Beva and heat, and stapled to the wall. The artist liked this system so well that he requested that the tabs be left attached to the works he loaned for the show. Low platform barriers were used for this exhibition, but AGO staff noted the presence of footprints on top of the platforms, suggesting that the barrier was not entirely successful.
Throughout her presentation, Weir emphasized the importance of dialog between conservators, curators, and artists. Natural light presents a special set of challenges. Weir cited an exhibit of Marcel Dzama’s work, in which over 100 works were rotated into 33 frames to minimize individual light exposure. She also described a large watercolor on canvas by Silke Otto-Knapp, which was shown unglazed in a gallery with uncovered windows. In that case, the artist shared information about the materials used to create the work, allowing conservators to determine that it was likely to be stable in the gallery conditions.
Through these examples, Weir made a compelling case that our job as conservators is to adapt to changing conventions and exhibition practices, while still ensuring the safety of the artwork. By engaging in early, frequent, and open communication with stakeholders, including the artist, and by thinking creatively about solutions to exhibition challenges, conservators can be good stewards not only of the physical object, but of the artist’s conceptual intent.
*I am not a legal scholar, and I apologize if I mischaracterized the implications of Canadian copyright law!