43rd Annual Meeting – Opening Session, May 14, Concrete Conclusions: Surface treatment Trails for Conserving the Miami Marine Stadium by John A. Fidler, Rosa Lowinger, et. al.

Miami Marine Stadium by El Gringo. Taken August 16 2011.
Miami Marine Stadium by El Gringo. Taken August 16 2011.

“This presentation by John A. Fidler and Rosa Lowinger focused on testing cleaning methods for removal of graffiti from concrete surfaces at the Miami Marine Stadium. The work is being undertaken by the Friends of the Miami  Marine Stadium with funding by the Getty Foundation.
The stadium is an excellent modernist structure designed by the Cuban-American Architect, Hilario Candela. The building includes a 326 foot-long cantilevered thin shell concrete roofline that is among the longest in the world. The Stadium was created for speedboat racing but was also used as a concert venue, and featured artists such as Jimmy Buffett, Sammy Davis Jr, and more. The stadium is owned by the city. It was closed in 1992 after Hurricane Andrew and has fallen into a state of disrepair. It has become the central site for graffiti artists in the Miami area and the surfaces of the stadium are covered with multiple layers of graffiti.
Because of it’s unique and original mid-century design, the Miami Marine Stadium is the recipient of the Getty Foundation Keeping It Modern Initiative funding. This is one of nine structures to have received this type of grant. This funding has allowed for testing graffiti removal methods and evaluating concrete repair materials for the project. This 12 month testing phase is due to be completed this summer, but the project will be on-going.
The Friends of the Miami Marine Stadium are working diligently to save this structure from a city demolition order that was issued in 1993. There is concern about the welfare of the deteriorating concrete and the structure’s hurricane resistance. The project requires both civil engineering expertise and conservation skills. In addition to materials conservation issues, the cultural and social use of the site as a graffiti sanctuary must also be addressed. Repair of the concrete in many places will require the removal of many of the graffiti works. While much of the graffiti designs are undertaken using acrylic or polyurethane enamel car touch up paint, there are more than 200 types of paint materials used to create the graffiti art.
The project will require graffiti management for current and possible future tagging. Initial meetings were held with the graffiti artists to convey that there is intent to honor the role of their work, to record the work, and to provide creative ways to archive or show the work. In the future there may be walls placed for graffiti artists to continue their efforts.
Current conservation research efforts are focusing on three lines of study – graffiti removal, anti-graffiti protection, concrete repair. Graffiti removal is focusing on both mechanical and chemical methods of removal. Mechanical techniques include dry-ice abrasion and/or laser cleaning. This may also be followed by chemical methods such as Dumond’s Smart Strip Pro, or custom chemical blends using 5% formic acid and benzyl alcohol. To protect surfaces from new graffiti additions, anti-graffiti barriers are being tested. These treatments may include Dumond Chemical Watch Dog, as well as Keim, and Prosoco products.
Concrete patch repair is focusing on stable long-term materials. Worldwide over 90% of concrete repairs fail within 10 years. Thus, it is important to test potential patch materials in actual environments prior to treatment. Also, the surface textures and finishes will be a challenge to conservators. Materials selected for testing include:

  • SIKA Mono-top
  • BASF Emaco Repair
  • Edison Coatings System 45
  • Cathedral Stone Jahn M90
  • Custom Mixes

Results of this research will both guide the treatment of the Miami Marine Stadium and serve as a guide for the treatment of other mid-century modern concrete buildings and structures.

43rd Annual Meeting- EMG + OSG Session, May 15, "The Butterfly Effect: A Case Study on the Value of Artist Collaboration in the Conservation of Ephemeral Material" by Christa Pack, Tasha Ostrander, and Mina Thompson

Christa Pack presented a beautiful collaboration that took place at the New Mexico Museum of Art between staff conservator Mina Thompson, herself, and the artist Tasha Ostrander. The artwork Seventy-Three in a Moment was acquired recently by the museum after it had been displayed outdoors on a portico. The conservation work was also mentioned in an article published in “Ongoing” a Santa Fe New Mexican paper.
Christa started out with documentation on the materials and working method- the work is a butterfly mandala with a butterly representing each day in the life of a 73 year-old, the average life span of a person in 1996, the year the work was made. Tasha became involved in the process and eventually made additional butterflies- photocopies that were individually cut out- to add to the work. At a point in the conservation process they realized that Tasha should make the replacement butterflies and work on the integration- there weren’t enough of the detached butterflies and although many were numbered, there was no obvious logical sequence.
In this process they moved away from the YES! paste used by the artist and instead chose Aquazol. Christa spoke about the value of the artist’s voice and participation in restoration of the conceptual components. The process required mutual trust and respect. Christa ended with a nice video of the artist telling in her own words about the project… I’m paraphrasing… when Tasha saw the work in the lab, she was sad, but also thrilled to have some control over the piece since it was sold. She felt like the process was bringing the work back to life; re-entering into the past.
What surprised Tasha about conservation? The artistry, patience, pain-staking, get the job done, whatever it takes, discovery, and courage
A great collaboration that saw a new relationship and friendship emerge.

43rd Annual Meeting- Electronic Media Group Session, May 16, "The Fragile Surface: Preserving the CD-DA by John Passmore

John Passmore works as the archives manager at WNYC. They have audio recordings that go back to the earliest days of radio– about 100 years now. As a listener of WNYC it was very interesting to hear about how they are caring for their archives. WNYC does a lot more than just radio- like many media producers, they are a multi-platform production company with born-digital content. In the audio preservation lab they are able to digitize and preserve almost all media types, which is an anomaly in the public media world.
That being said- between 2000-2008 they created ~30,000 digital audio cds which were created and finalized by the engineers at the time of the broadcast. About 5 years ago they started to notice some problems with them being unplayable and hard to rip. It was possible to extract the .wav file, but it would sound terrible. Being worried about the health of these formats they created a workflow to migrate them in an efficient and responsible manner. Some have obvious manufacturing defects, but the scary thing is that usually you can’t see something visibly wrong. The most commonly believed reason that cds fail is due to degradation or failure of the dye layer. This is extremely small- at 0.5 micrometers this is about 1/100th of the width of a human hair!
To migrate their collection, they bought a machine that is used to put cds onto an ipod or other digital player- it is not preservation oriented, but can concatenate .wav files dump them onto the DAM and extract the metadata. If the cd fails then they use a separate testing system. Plexstore can be used to review the data. It is also possible to run the cd in real time in a cd player and extract the info that way, but this is obviously much more time consuming. There are problems with this system and John is not totally happy with it, but it is working for now.
Now for the alarming information- they ran a test of about 20% of 2,400 discs to determine how many errors and what kind there were- correctable or uncorrectable. None of the cds passed! So the whole collection is at great risk.
John’s list of takeaways:

  1. CDs don’t last very long, maybe even less than we though- their CDs are only 10 years old, not the 20-30 usually stated in accelerated aging tests
  2. It is hard to know why the CDs go bad, and finally
  3. They are looking at open source tools like QCTools. John ended with a great video using MakeAGIF.com showing the process of his machine in process.

43rd Annual Meeting – Textile Specialty Group Session, May 15, “Tip Session on Mount Making: Materials and Methods for Exhibition and Display by Robin Hanson, Shelly Uhlir, Laura Mina, Denise Krieger Migdail, and Joy Gardiner”

The Tip Session was the final presentation of the Textile Specialty Group. If you missed this session, you missed scads, mountains, and heaps of useful mounting information from six knowledgeable presenters. They shared techniques, and sources for materials and mounting supplies. The presentations were so rich with information, I could not hope to scratch the surface in this post.
The first presenter was Robin Hanson, Associate Conservator of Textiles, with the Cleveland Museum of Art. Her presentation was titled “Modular Mount for pre-Columbian Tunics.” The subject was a display method she developed along with mount makers Carlo Maggiora and Philip Brutz. This tube mount for support and display of multiple pre-Columbian tunics, for a traveling exhibition, had custom fabricated end caps of cylindrical aluminum rod, and custom padded inserts made for each tunic. It is versatile. Variations of the mount were made for inclined wall mounts and for display in the round. The mount reduces handling of the fragile tunics, and can remain in the garment for shipping and in storage. We are in luck, because her poster of the technique will be posted.
Shelly Uhlir is an Exhibits Specialist and Mount Maker at the National Museum of the American Indian. Her presentation, “Joints and Connections: Attempts at Locking Motion,” was divided into three categories for the creation of arm to torso connections: pinned, keyed, and magnetic. Shelly wanted us to keep in mind that shoulder joints are best when they are easy to find and release. Shelly proposed the idea of a collaborative arm connection / mannequin joint wiki-page. I hope that her clever solutions will be posted soon.
Laura Mina, Associate Conservator from the Costume Institute of The Metropolitan Museum of Art presented “Hats for Egg Heads.”  Laura shared how to support and secure hats while they are perched on highly polished, featureless egg-shaped mounts. She used felt, and double stick tape as well as small constructed forms of Volara, polyester batting, twill tape, and silk. They were a clean and simple solution for display.
Susan Heald, Textile Conservator at the National Museum of the American Indian, presented “Adjustable Angle, reusable slant boards for mounting hides and textiles with magnets.” Susan explained the evolution of the slant boards for hides and textiles used at NMAI. She described how they went from being custom cut to the shape of a hide, to light weight reusable aluminum honeycomb boards with larger handling margins. She shared their construction, materials used, types and size of magnet, sleeve options for the back of textiles, and her choice of sueded polyester to cover magnets used to secure hides to the slant boards.
Denise Krieger Migdail, Textile Conservator at the Asian Art Museum presented  “A new 3M: Minimal Magnet Mounts.”  Denise pointed out that magnetic mounts can be beautiful, functional, and of infinite variety. Her talk was packed with information about the ways she has used magnets for mounts. She had two categories: strip fasteners with magnets embedded into various types of board to spread the pressure evenly along the length of an object; and as point fasteners when magnets are used singly. She shared storage and separation techniques, such as keeping the magnets interleaved with twill tape, and using a stronger magnet as an aid for separation.
Our last speaker was Joy Gardiner, Assistant Director of Conservation, at the Winterthur Museum, Garden & Library. Her presentation was titled “To Avoid Further Piercings: The Mounting of a 1795 Sampler with Original Paper Backing via a Paper Conservation Hinging Method.”  The technique that Joy adapted to keep the backing intact was found in the realm of paper conservation in the article by Hugh Phibbs, “Recent Developments in Works on Paper” published in The Book and Paper Group Annual, Volume 24, 2005. Japanese tissue paper hinges were attached to the sampler backing. The hinges were then passed through slits in a four-ply board, and then adhered to the back of that board without disturbing (or piercing) the sampler or the backing.
The session finished with Q & A followed by time with the speakers, and their examples and handouts.

43rd Annual Meeting – Book & Paper Session, May 15, "Heat-Set Tissue: Finding a Practical Solution of Adhesives by Lauren Varga and Jennifer K. Herrmann"

The National Archives & Records Administration (NARA) has been making heat-set mending tissue in house for many years.  Recent digitization initiatives have increased the need for efficient stabilization mending.  NARA prefers heat-set tissue for this type of mending for many reasons.  The tissue is flexible and easily reversible.  It requires no moisture for application and is easy to use.  The transparency of the tissue, which they can control by making the tissue in house, does not interfere with the digitization of text. To make the heat-set tissue, NARA starts with an appropriate weight of Japanese tissue, which is toned (if necessary) before application of the adhesive.  The tissue is wetted and smoothed out against silicone Mylar to remove bubbles.  A batch of the acrylic emulsion polymers Rhoplex AC 234 + AC 73 were mixed and applied through a screen onto the wet tissue.  The tissue was then allowed to dry on the Mylar until ready for use. Unfortunately, the Rhoplex adhesives they had been using for many years have been discontinued, and they had to search out a new blend of adhesives to continue making the tissue.  NARA tried two different blends of adhesives:  Avanse MV-100 + Plextol B500 and Avanse MV-100 + Rhoplex M200.  NARA settled on a 4 : 1 : 1 ratio of water : Avanse MV-100 : Plextol B500 for their new mix. PROS:

  • FTIR analysis showed that the adhesive, when applied through a screen, does not sink through the Japanese tissue.
  • Blocking tests also showed the tissue safe to use on multiple layers of documents.
  • The mixture passed the PAT test for use on photographs.

CONS:

  • Avanse MV-100 has optical brighteners in it, which is something of a concern.  Advanced aging test showed that the optical brighteners did not migrate into the documents which had been mended, however, so it was deemed acceptable for use.
  • The tissue also has a high sheen from the silicone Mylar that can be objectionable to some clients.  It isn’t bad enough to cause problems for digitization, however, and it can be removed with a swab of alcohol if necessary.

43rd Annual Meeting, Electronic Media and Objects Joint Session, Co-Organized by Voices in Contemporary Art (VoCA), May 14, “Beyond the Interview: Working with Artists in Time-based Media Conservation,” Kate Lewis

Kate Lewis, Media Conservator at the Museum of Modern Art, spoke about communicating with artists, a daily practice for time-based media conservators. Time-based media art is inherently dynamic and its conservation requires ongoing collaboration throughout the life-cycle of a piece. Gathering information from an artist is a cumulative process, with opportunities for both formal and informal conversations at multiple stages, from acquisition to condition checking to installation.
The first opportunity for conservators to communicate with the artist is at the point of acquisition. This is a chance to gather information about the media production history and specifications for the technology needed to show the piece. Initial contact generally happens via email; for efficiency and consistency, Lewis has a standard set of questions that she sends to artists.
The next point at which communication with artists happens is during the condition checking phase. This is when all of the media in the piece are examined to ensure that the necessary files and equipment are present and working properly. Gathering information at this point can be a challenge; artists are often busy and may feel rushed, especially if they don’t fully understand the more technical concerns.
It is often at the installation stage that museum staff conducts a formal artist interview. Installation is the first time the staff has a chance to experience the art, and it’s at this point when final tweaking of volume settings and other technical details happens. There are so many people involved and there are many conversations happening between museum staff and the artist, that capturing important snippets of information can be tricky. Lewis likes to audio record whenever possible, in addition to taking notes, and then follows up with more formal questions later on. Post-installation is often the ideal moment for more in-depth conversations with the artist.
Lewis spoke to the importance of revisiting questions with the artist multiple times. A cumulative approach is inevitable, given time-constraints and the nature of these interactions, but it also affords an important opportunity to develop trust and empathy for the artist and the piece. It can take a while to get the artists away from their canned “spiel.” It can also take time for conservators and other museum staff to understand and appreciate, even if they don’t agree with, an artist’s point of view.
Some artists are elusive but exert a lot of influence over their work. Lewis talked about a few artists she’s worked with whose pieces have very specific technological requirements that will face obsolescence in the not-too-distant future, and an unwillingness (at least at this point) on the part of the artists to discuss hardware, software, or format alternatives. Lewis and others in the room speculated that artists don’t always want to talk about how components of their work might change; they might be resistant so that things won’t be changed too soon, forcing conservators to work a little harder to keep as faithful to the original for as long as possible.
Lewis made the interesting point that time-based media art is so new and dynamic that we’re still determining what counts as “patina” for these works; ongoing conversations with artists help us figure out what elements may be altered or replaced and what must be saved in order to retain the authenticity and integrity of the piece.

43rd Annual Meeting – Sustainability (Track B) General Session, May 15, "Sustaining Georgia's Historical Records: NEH Sustaining Cultural Heritage Collections Implementation Grant at the Georgia Archives" by Kim Norman and Adam Parnell

Georgia Archives Conservator Kim Norman and Assistant Director of Operations Adam Parnell shared data from the Georgia Archives’ successful NEH Sustaining Cultural Heritage Collections Implementation Grant project in order to support and encourage other institutions seeking to justify implementing similar environmental strategies.  Kim Norman started off with a brief history of the Georgia Archives to set the context of the project.
In 2003, the Georgia Archives opened in its current facility, which was designed to meet the highest archival standards of the time, prioritizing security and environmental protection for the collections. The complex, multi-zoned mechanical system made it possible to monitor environmental conditions closely, but proved to be unwieldy and costly to operate. The NEH SCHC Implementation Grant project aimed to reduce energy consumption while simultaneously continuing to uphold best practices for the preservation of collection materials.
Refusing to let laryngitis derail his commitment to sharing this project, Adam Parnell whispered his way through the talk. The audience’s patience and encouragement served as testament to their interest in hearing what he had to say. The Georgia Archives essentially transitioned from a “run all the equipment all the time” model to a “run equipment only as needed” model. The original HVAC system was run 24/7 for 365 days a year, using up about 700kW/hour and incurring electricity costs of over $30,000 per month. Dehumidifiers were run constantly, even when the outside air was within an acceptable range. Heating and cooling units were also run constantly, at the same time, stressing the system, which needed constant monitoring and repair.
The new model relieved stress on the system and made use of passive environmental conditions whenever possible. The environmental standard was set to 55-60 degrees F with a 35-40% RH set point. The new system installed a “weather station” with “adaptation intelligence,” so, for example, when it’s raining, the draw of outside air reduces to a minimum to avoid increasing the indoor RH. The system can shut down cooling units when the outside air dips below 40 degrees Fahrenheit. Likewise, the system turns off the dehumidifiers when outside RH is below 50%. The heating boilers are now run at 140 degrees F instead of the former 180 degrees, and they are turned off altogether when the outside air temperature spikes above 90 degrees.
Using the new model, kilowatt usage has dropped from 700 kW/hour to 365 kW/hour, decreasing the monthly electric bill by nearly 40% to about $18,000.  Increased savings are also expected in reduced gas consumption and plant water usage.
Resource Links:

43rd Annual Meeting – Book and Paper Session, May 16, "The Effects of MPLP on Archives: 10 Years Later" Panel Discussion Moderated by Andrea Knowlton

Introduction
Andrea Knowlton, Assistant Conservator for Special Collections at UNC Chapel Hill and moderator for this panel discussion, began the session with a brief introduction about the origins of MPLP, short for “More Product, Less Process”, and its impact on archives collections over the past decade.  The concept of MPLP originated with a 2005 article in the American Archivist, entitled “More Product, Less Process: Revamping Traditional Archival Processing.”  Authors Greene and Meissner sought to address the massive processing backlogs which were, and are, a common concern and source of inefficiency in archives collections.
In order to receive maximum benefits from this blog post, I strongly encourage you to review the article, which may be found at: http://www.archivists.org/prof-education/pre-readings/IMPLP/AA68.2.MeissnerGreene.pdf
As Andrea explained, this article encouraged a reduction of arrangement and description activities, as well as a reduction in the initial time and resources invested in preservation activities, such as refoldering, rehousing, and removing staples, in order to facilitate access to collections.  She described that this approach to processing was controversial in the archives field, but is now widely accepted and practiced.  As Andrea pointed out, though MPLP is a major topic in archives, its impact has not been widely discussed in conservation.  I personally can vouch for this; since volunteering to write this blog post, I have explained the concept of MPLP to several conservator friends, so if this is new to you, you are in good company!  As someone who is currently working with an archives collection, I was truly looking forward to this panel discussion.
Laura McCann, Conservation Librarian at NYU Libraries, “Partnering for Preservation and Access.”
After Andrea’s introduction, each of the panelists gave short presentations about the impact of MPLP on conservation in their institutions.  Laura McCann, Conservation Librarian at NYU Libraries, was the first speaker, and said that their experience with MPLP has been “a happy story.”  NYU Libraries have archival materials held in 3 separate repositories, and these archives had 3 separate management policies until recently.  Their policies have become consolidated and streamlined largely thanks to MPLP.  Laura described that MPLP allowed them to rethink their core values, to refocus on ways to be more user-centered, and to better understand their resources in order to plan and manage more responsibly and sustainably.  She pointed to three main areas in which MPLP has impacted their institution:
-Organizational changes: a new Archival Collections Management Department was formed, headed by Chela Weber, which included a new position for a Preservation Archivist, Fletcher Durant, who functions as a preventive conservator and liaison between conservation and archives.
-Workflow changes: there was a shift in the type of materials treated, with higher emphasis on materials that were being actively used for teaching, exhibitions, and loans.  This in turn has led to a better understanding of how conservation work increases access.
-Methods/Materials changes: efforts were made to house and store items in a more efficient manner.  Instead of creating custom housings, they decided to move toward modification of standard sized boxes because they found that this saves space.
Laura also mentioned that she had recently published an article on the impact of MPLP, and suggested this resource for those who were interested in learning more:
Laura McCann. “Preservation as Obstacle or Opportunity? Rethinking the Preservation-Access Model in the Age of MPLP.” Journal of Archival Organization 11, 1-2 (2013): 23-48.
Michael Smith, Collections Manager at Library and Archives Canada, “Acquisition, Preservation and Immediacy- A Different Approach to Balancing the Demands of Making Archival Material Quickly Accessible.”
The second panelist, Michael Smith, a Collections Manager at Library and Archives Canada, discussed two examples of the impact of MPLP in his talk.  The first example Michael described was a major project involving The Sir John Coape Sherbrooke Collection, which includes 37 notebooks, 79 maps, paintings, and other documents and artifacts.  They were faced with the challenge of making these items digitally available by a tight deadline, and this required a streamlined approach to processing, treatment, and digitization.  Treatment and description activities were carried out concurrently, with archivists working side by side with conservators during treatment.  The materials were tracked using temporary numbers during processing so that they could be processed efficiently, and once the materials were described, they were digitized, bar coded, and stored.  Michael emphasized that collaboration between archivists and conservators was an essential part of this project.
The second example Michael described was their First World War Records Digitization project.  The records in this collection included medical history documents, pay sheets, casualty forms, etc.  Processing this collection involved the removal of every imaginable type of fastener, and Michael included a great image of a large bin full of fasteners.  In total there were 3.5 kilometers of documents which needed to be digitized.  This differed greatly from their usual digitization workflow, in which, Michael described, items are usually digitized as requested by clients.  Prior to digitization, they carried out “material triage,” or minor repairs, and a Banctec, or high volume, scanner was used. While this scanner is not normally used for archives documents, they found it was needed for this project and could be slowed down and used safely.  This project also required both archivists and conservators to rethink and modify their previous workflow model for processing, treatment, and digitization, and consequently required archivists and conservators to work together as a team.
Michael concluded by summarizing lessons learned, including the importance of clear communication, adaptability, and teamwork.
Kim Norman, Preservation Manager/Conservator, Georgia Archives, “MPLP and Conservation at the Georgia Archives.”
Kim began her talk by questioning if MPLP is to archives what phase treatment is to conservation.  She went on to describe some conservators’ concern that phase treatment often results in simple, quick fixes, after which the objects are returned to storage and their greater needs are forgotten.  Kim emphasized that the size of unprocessed collections often makes full treatment of every individual item too overwhelming, and that treating in phases allows materials to be accessed sooner.
She then described examples from her institution of how their workflow has been adapted to better suit the goals of MPLP.  In the Georgia Archives, archivists are trained in some minor preservation and treatment techniques, such as making custom enclosures and sleeves.  She discussed how, while conservators might want to remove fasteners and complete minor repairs, archivists feel these steps are not usually high priorities, and the overarching goal is to ensure access quickly. She provided an example of a group of courthouse documents which were arranged and described but received only minor treatment, including humidification and flattening, so that they could be accessed in a timely manner.
Open Discussion
After the panelists’ presentations were completed, members of the audience were invited to ask questions and to comment on their experiences with the impact of MPLP.  The major discussion points are described below:
1) Laura was asked to speak more about the initiative for rehousing odd-shaped items.  She explained that this practice was started about 2 years ago, due to a combination of factors including a major renovation, new staff, and policy changes.  They are still dealing with rehousing items in the off-site storage, and are slowly calling back odd-sized boxes to replace them with standardized boxes, but items that are not housed at all are their first priority.
2) Laura was also asked to elaborate on the impact of the goals of being data driven and making collections quickly accessible.  She was asked if items that receive minimal attention and rehousing during preprocessing are coming back later to conservation.  Laura replied that all items have a small amount of preservation initially, after which they track use of the items and then enhance description and preservation as necessary.  She emphasized that if they notice an item is being used frequently, then it may be identified for further treatment later on.  Kim mentioned that in her institution items do not come back frequently and treatment is generally need-based.  She gave an example of a large group of fire-damaged courthouse documents that were treated because they needed to be immediately accessible.
3) A point about audio/visual materials in archives was raised, and it was mentioned that these materials pose a major processing challenge because they are being sent to high density storage with minimal processing with little expectation of reformatting or use, but are decaying quickly.
4) An audience member from a small National Park Service site commented that MPLP has created a feeling of going from maximum to minimum in terms of processing, and as a small institution they are faced with the challenge of finding a middle ground where they can address their inherent problems while also balancing their resources in a thoughtful and efficient manner.  Laura emphasized the value of collecting data and defining goals.  She suggested starting with fairly low, sustainable goals, and progressing from there.  Michael commented on the challenge of keeping up with a processing backlog while more material is constantly coming in.
5) As expected, the issue of fasteners reared its rusty head.  An audience member confessed that this issue keeps her up at night, and questioned if we should be disposing of these, because they are evidence of the history of archiving.  She suggested maintaining fasteners, or at least maintaining evidence of the original filing system.  Michael mentioned that they had considered melting down their giant box of fasteners and making something out of the metal.  Laura, on a more serious note, agreed that fasteners are great objects, and can tell a story, but often interfere with the larger goal of making materials accessible.
6) A private practice conservator who works with small institutions in the South brought up the great point that MPLP fundamentally assumes ideal climate control is already in place, especially in regard to leaving fasteners on documents. She asked for suggestions for how to advise local collections without adequate climate control as to how to implement MPLP.  Both Kim and Laura emphasized the importance of addressing the building envelope first while simultaneously considering how MPLP approaches should be adapted to best fit the needs of the individual institution.  Other audience members supported these suggestions.
7) The issue of mold was introduced, in terms of adding time or inefficiency to the processing workflow.  Michael discussed that mold remediation was included in their workflow from the beginning, and while it was definitely an extra step and caused slight delay, it fit in well with the rest of the workflow.  The option of using a vendor for mold remediation was discussed, although it was agreed that vendors were most cost effective when large amounts of materials were involved.  This segued into a discussion of Integrated Pest Management, and museumpests.net was suggested as a good resource for finding vendors.
8) The final topic of discussion was managing workflow schedules in terms of time, and managing the expectation that major processing/digitization projects need to be addressed as quickly as possible on top of other ongoing projects. The audience member who raised this point asked others to elaborate on who determines the work schedule, how they negotiate for more time, and how they deal with the pressure of these expectations.  Michael responded that, at his institution, they are generally not in the position to negotiate deadlines, but can generally negotiate in other areas, such as hiring extra staff or accepting high risk of damage, in order to better meet the deadline.  Kim commented that the needs of her institution are much more fluid and patron driven.  Laura also mentioned that the digitization initiatives at her institution are not as aggressive, but that having a preservation archivist working equally closely with archivists and conservators helps with scheduling major projects.  Other audience members reinforced Michael’s suggestion that, in cases where other parties have determined deadlines which are non-negotiable, other compromises should be suggested, such as stopping work on all other projects or hiring extra help.  It was also mentioned that this may be a good opportunity to point out how previous conservation work may have allowed digitization to be completed faster.
Conclusion
This blog post is a beast, but a necessary one.  As was emphasized by the panelists and audiences members, MPLP has had a major impact on conservation workflows in archives, and both the theme of this conference and the 10 year anniversary of MPLP made this a great time for this discussion.  I thought the point about assumed climate control was an especially good one, as was the final point regarding the pressures of digitization on top of the many other responsibilities conservators have outside of treatment work. This is directly related to Julie Biggs and Yasmeen Khan’s talk “Subject and Object: Exploring the Conservator’s Changing Relationship with Collection Material.”  While it was great to hear that the effects of MPLP have been overwhelmingly positive, I would have liked a more in-depth discussion of why MPLP was controversial in the archives field, as well as if we as conservators have noticed any of the negative effects that initially worried some archivists.

43rd Annual Meeting – Textile Specialty Group, "The Effect of Light Emitting Diode Lamps (LEDs) on 19th century Dyed & Printed Cotton Fabrics," Mary Ballard, Courtney Bolin, Taylor McClean

Although Mary Ballard was unable to attend the conference, Ines Madruga, Paintings Conservation Fellow at the Smithsonian’s MCI, read the paper and gave a dynamic presentation. Mary and her coauthors worked closely with the color scientists at the National Institute of Standards and Technology (NIST) to explore the ways in which differently colored LED lights can change perceptions of colored textiles. They used samples from a 19th-century handbook for dyeing and printing cotton and the Spectrally Tunable Lighting Facility at NIST. 
The “Practical Handbook of Dyeing and Calico-Printing” was published by William Crooke 1874. Since each sample in the handbook included detailed information about the dye used, the results of the study should be informative for many textiles made on or before 1874.
The STLF is able to simulate many different types of light, measure spectra, and provide side-by-side comparisons. For more information, visit their website (http://www.nist.gov/pml/div685/grp03/vision_lighting.cfm). After comparing the samples in many different types of light, the authors were able to create a guideline with recommendations for LED lights that provide the best overall color.
The NIST website has many helpful resources, including a spreadsheet with Color Quality Scale information. The spreadsheet allows users to predict how how color qualities will change with different lights. The spreadsheet, which includes a tab with directions for use, can be downloaded here.
This presentation builds on work presented at the previous AIC meeting. For additional information, consult this paper:
Bolin, Courtney, Mary Ballard, and Scott Rosenfeld. 2014. “Assessing Colorants by Light.” (http://aics42ndannualmeeting2014.sched.org/event/ca5c64b579ff2d67e284decc878e72ee#.VV9Euk_Byyo)

43rd Annual Meeting- Book and Paper Session, May 14, "The Brut Chronicle: Revived and Reconstructed by Deborah Howe"

In her talk about the treatment of Dartmouth College Library’s Brut manuscript, Collections Conservator Deborah Howe addressed the history of the manuscript, its condition and intended use, and the process involved in determining an appropriate binding structure. The major challenge she encountered was that the Brut was bound in a historic binding in poor condition that was not contemporary to the text block.

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Dartmouth Brut Before Treatment

Deborah began her talk with an overview of the Brut text and its historic significance. According to Deborah, The Brut text is a chronicle of both English history and mythology, and covers the history of England from its settlement until 1461; it contains records of battles and histories of rulers, as well as tales of Merlin and King Lear.  While variants of the text were written in Latin, French, and Middle English, 181 of 240 existing Brut manuscripts are written in Middle English, including Dartmouth’s Brut manuscript.  Dartmouth’s Special Collections Library acquired their copy of the Brut with the intention that the manuscript would be used heavily for research and teaching.  Dartmouth’s Brut is of particular interest because it has a significant amount of marginalia which is now available for scholarly research.  Prior to being acquired by Dartmouth, the Brut was in a private collection, and was not available to scholars.
This manuscript was unusual in that it was bound in a stationers binding that was in poor condition and was no longer functional.  As Deborah explained, this created a dilemma, because while the binding dated to around 1600, it was not contemporary to the text block, which dates to about 1430.  In making her treatment decision, Deborah consulted with conservation colleagues who suggested stabilization of the stationers binding in conjunction with limited use.  Because this book was intended to be used frequently, Deborah felt that a different solution was necessary.
First, the Brut was disbound, surface cleaned, mended, and digitized.  In the process of disbinding Deborah found evidence of a previous binding, which she conjectured might have included wooden boards.  Prior to determining an appropriate new binding, Deborah created a model of the stationers binding.  She also had the opportunity to consult with a group of Brut scholars who were visiting Dartmouth for a conference, and asked for their opinions regarding binding possibilities.  Through this consultation, Deborah decided that a binding was needed that would reflect the history of the book but would also suit its current needs.
Deborah chose to resew the Brut on tanned leather supports which were left long.  She created new boards from multiple layers of handmade flax paper, and three slots were left in the boards where the supports could be inserted.  Later, in response to a question, Deborah also mentioned that she attached strips of parchment to the supports as stiffeners in order to facilitate putting the leather supports into the boards.  She then created a chemise of alum-tawed leather to cover the book as a whole.  This created a reversible binding; there are no linings or adhesive present on the spine, and the cover can be easily removed to show the sewing.  The stationers binding and sewing materials were saved and are stored with the Brut.  In conclusion, Deborah emphasized the practical nature of this solution, in that the new binding references historic materials while making the book accessible and stable.
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Dartmouth Brut After Treatment: showing supports inserted into boards

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Dartmouth Brut After Treatment

 
 
 
 
 
 
In the questions session, Deborah elaborated on how often Dartmouth’s Brut is used and how the new binding was holding up. She mentioned that it has been a few years since the treatment was completed and that the book is accessed, either for teaching or research, at least once per week.  Despite this frequent handling, the new binding is still in great condition, and functions well.  One audience member asked Deborah to elaborate on her collaboration with scholars, and Deborah emphasized that this opportunity was both rare and essential.  Another audience member asked about the impact of digitization on access, and Deborah responded that digitization has increased access greatly, but that the digitized manuscript is mainly accessed by scholars, while the physical book is frequently used for classes.
Deborah’s talk tied in nicely with the two talks that followed, including Evan Knight’s “Understanding and Preserving the Print Culture of the Confederacy” and Todd Pattison’s “The Book as Art; Conserving the Bible from Edward Kienholz’s The Minister,” in that all three speakers devoted time to in-depth discussions of their treatment rationale and their inner debates regarding a possible range of treatment options.  Many thanks to Deborah for providing the images!