Spring is coming, believe it or not, and nominations committees are currently canvassing our membership, looking for people to run in the spring elections. Sadly, most of the people they ask will follow Nancy Reagan’s instructions to the letter: they’ll just say no.
Friends, service work for AIC is not a highly-addictive drug that will destroy your life. Consider saying yes. Everyone seems to focus on how much extra work is involved in service. It’s true: service positions do involve work. Also true: most don’t involve that much work. And nobody ever talks about the fact that this work is often very interesting, that you might actually like it.
For example, as a member of the Education and Training Committee, I review scholarship and workshop applications from our entire membership. As a result, I get a broad overview of what people in all sub-disciplines are doing and it’s fascinating. The ETC also gives me the opportunity to work on bigger issues in our field, and in doing so I get to collaborate with conservators who have completely different experience and perspectives.
I’m also currently the program chair for the Objects Specialty Group. This isn’t the first time I’ve chaired conference sessions and I’m going to tell you a secret: it’s crazy easy and highly rewarding. Do I occasionally devote nights or weekends to reading abstracts, papers, and corresponding with authors? Yes. Is it interesting and worthwhile? Also yes. There is no better way to hear talks you want to hear than to chair a session and choose them yourself. This year for OSG, we had over 70 abstract submissions and not a single one of them was bad. With room for only 18 papers, the review committee had to make difficult decisions. As depressing as it is to reject 50+ good talks, think about the flip side: from 100% inspiring, solid submissions we were able to choose the papers we thought had the most to offer. As program chair, I was also able to plan a cocktail party for our group.
Admittedly, there are truly bad times to take on service responsibilities. Maybe you have a new baby, or a new job, or someone in your family is very sick. But if you’re simply waiting for the right time, the good time, then stop. It’s not coming. Two years from now you will not be lying on the couch eating bonbons and thinking, “hmm….I have so much leisure time….now might be a good time to do some service for AIC.” We’re all busy. I work a 55-60 hour a week job and, like all of us, have a life outside of work/conservation. But I make time for service.
There are a lot of reasons to say yes to service work: you’re interested in a particular initiative, you want to give back, you want to be in a position to effect change. I do it because I like it. Think about it. You might like it, too.
Category: Specialties
POLES, POSTS AND CANOES: THE PRESERVATION, CONSERVATION AND CONTINUATION OF NATIVE AMERICAN MONUMENTAL WOOD CARVING.
CALL FOR PAPERS
JULY 21ST – 22ND, 2014, HIBULB CULTURAL CENTER AND NATURAL HISTORY PRESERVE, TULALIP, WASHINGTON
The call for papers for Poles, Posts and Canoes: the Preservation, Conservation and Continuation of Native American Monumental Wood Carving (July 21st – 22nd, 2014, Tulalip, Washington) has been extended to February 28th, 2014. We still have a few spaces for presentations, especially those angled towards general collections management, display and use of these objects in native and non-native managed museums, and the use in a museum setting of traditional means of maintenance.
This two day symposium (preceded by an opening ceremony and meal on the evening of July 20th) will gather Native and non-Native museum professionals, tribal members, and contemporary Native carvers to discuss the challenges of preserving and exhibiting historic monumental wood carvings from both a Native and Non-Native view point. It will also serve to connect Native carvers and the museum community in the hope that the resulting dialogue will help support the continued development of this traditional art form. The format of this gathering is aimed at encouraging discussion, so presentations will be relaxed and brief, and an equal amount of time will be scheduled for general discussion of the topics addressed.
Registration will open January 21st, 2014, and a provisional program will be available at that time.
Further information and details about the conference will be posted at www.hibulbculturalcenter.org/Events/Symposium/
Call for papers:
The meeting is heavily focused on inclusive discussions amongst participants, therefore we are seeking short presentations (10 – 15 minutes maximum) that encourage constructive dialog. While technical papers are welcome, we ask that presenters keep in mind the broad background of the expected attendees. The event will be recorded and the proceedings published.
Proposals for presentations on the following topics are invited:
- The history behind the past care of poles, posts, canoes and similar large Native carvings held in conventional museum settings.
- The care of these objects in Native museums and communities from the Native perspective.
- What types of large artifact conservation treatments and care work best in Native and non-Native museums?
- The importance and relevance of these objects for the personal visions of the Native carver.
- The potential use of traditional methods and materials in the preservation of existing objects in collections.
- How can conservators, custodians and Native carvers bridge the communication gap and support each other’s work?
- How can a balance be struck between technical and non-technical methodologies?
- How can we define a range of “best practices” in Native museum collections regarding treatments, storage, moving and mounting techniques for this material?
Information to be included in your proposal:
- Presentation proposal should be not more than 250 words.
- Please include a 100 word summary that will be included on the conference website, should your paper be accepted.
- Provide your name, occupation/institution and contact information, including e-mail address.
- Indicate the format of your presentation – PowerPoint, presentation from written notes, etc.
Deadline for submission: February 28th, 2014.
Please submit proposals to: J. Claire Dean at info@hibulbculturalcenter.org (include “PPC paper proposal” in the subject line). You will be notified by e-mail whether or not your paper has been accepted by March 24th, 2014.
For full details of proposal requirements, as well as registration information for both the symposium and the totem pole maintenance workshop that follows on July 23rd – 25th July, please visit http://www.hibulbculturalcenter.org/Events/Symposium/
Reminder: Registration is now open for Aluminum: History, Technology and Conservation!
Conference and workshop: April 7-11, 2014 in Washington DC.
Conference: April 7-9, 2014, Smithsonian American Art Museum, Washington, DC. To register: www.conservation-us.org/aluminum
Workshop: April 10-11, 2014, Emil Buehler Conservation Laboratory at the National Air and Space Museum, Steven F. Udvar-Hazy Center, Chantilly, Virginia. To register: www.conservation-us.org/aluminum-workshop
The conference will bring together international specialists to facilitate the exchange and dissemination of knowledge, experiences, and expertise in the deterioration and conservation of aluminum alloys. The workshop will focus on the identification of aluminum alloys and finishes as a professional development opportunity for conservation professionals.
The conference and workshop have a compelling line-up of featured speakers, and we are pleased to announce the keynote speakers.
Lyndsie Selwyn will deliver the opening address on the history, fabrication and use of aluminum. Lyndsie is Senior Conservation Scientist at the Canadian Conservation Institute in Ottawa, Canada.
Ian MacLeod will present on the corrosion and deterioration of aluminum and clarify different alloys and their corrosion problems in diverse environments. Ian is the Executive Director of Fremantle Museum and Maritime Heritage at the Western Australian Museum in Australia.
François Mirambet will present on materials characterization and identification of aluminum alloys and their corrosion products. François is a Research Engineer for the Centre de Recherche et de Restauration des Musées de France in Paris, France.
Christian Degrigny will present on the conservation of archaeological aluminum, including the stabilization of marine aluminum, as well as terrestrial and industrial artifacts. Christian is Senior Conservation Scientist and Lecturer at the Haute Ecole Arc de Conservation-restauration in Neuchâtel, Switzerland.
Rosa Lowinger will present on the conservation and use of aluminum alloys in contemporary art, with a particular emphasis on sculpture. Rosa is Principal and Senior Conservator of Rosa Lowinger and Associates in Florida, U.S.A.
Richard Pieper will present on aluminum in architecture, with an emphasis on the challenges of this material for the architectural conservator. Richard is the Director of Preservation at Jan Hird Pokorny Associates in New York City, U.S.A.
Bruce Hinton will present on corrosion inhibition, surface treatments and coating systems, particularly the latest developments in corrosion mitigation through development of innovative and environmentally friendly inhibitors and modern coating systems. Bruce is Adjunct Professor of Corrosion Science at Monash University in Victoria, Australia.
David Hallam will present on preventive conservation and the maintenance of aluminum artifacts and collections. David is Coordinator for the ICOM-CC Metal Working Group and a metallic heritage consultant in Tasmania, Australia.
For further information, email aluminum2014@gmail.com
You can download this announcement here
Organizing Committee: Claudia Chemello, Malcolm Collum, Paul Mardikian, Joe Sembrat, Lisa Young.
International Symposium -The Non-Invasive Analysis of Painted Surfaces: Scientific Impact and Conservation Practice
Smithsonian American Art Museum & National Portrait Gallery
McEvoy Auditorium | 8th and G Streets NW | Washington DC, 20001
February 20 – 21, 2014
This two-day international symposium will focus on recent advances in technology and instrumentation for the analysis of painted surfaces. You can download an announcement flyer here: Non-Invasive Analysis of Painted Surfaces Announcement
While non-destructive and micro-destructive analytical methods are often essential for the study and understanding of paintings, recent developments in portable and non-invasive instrumentation have led to growing interest in the applicability of techniques to the study of paintings. Further, as new instrumentation becomes commercially available and more affordable, conservators and scientists are able to use non-invasive techniques for monitoring and analysis in new ways.
A particular focus of the conference will be the interpretation of analytical results from portable instrumentation including colorimetry, imaging and X-ray fluorescence spectroscopy. The format of the conference will include papers and panel discussions.
Registration for this conference is required.
A schedule of speakers and registration instructions are listed under the current courses section on AIC’s site.
http://www.conservation-us.org/education/education/current-courses/non-invasive-analysis-of-painted-surfaces
Presented in partnership with the Lunder Conservation Center, ICOM-CC Paintings Working Group, ICOM-CC Scientific Research Working Group, and FAIC.
Image: Smithsonian American Art Museum’s Chief Conservator, Tiarna Doherty, studies x-radiographs of Constantino Brumidi’s study for the Rotunda of the Capitol Building. (Photography by Conor Doherty)
Archaeological Conservation at ASOR 2013
Three weeks ago LeeAnn Barnes Gordon and I co-chaired a conservation session at the annual meeting of the American Schools of Oriental Research (ASOR) in Baltimore, MD. Friends, I loved every minute of it.
This year the session, titled “Conservation and Site Preservation in the Near East,” kicked off at 8:20 in the morning on the very first day of the conference. We were concerned about the early start time, but attendance was good and the audience was engaged and responsive. This was the second in series of 4 planned sessions, and I’ll tell you about our lofty goals for the series a bit later. First, here are the 6 papers from this year, with a few notes from me about each:
“Preserving Egypt’s Cultural Heritage: Experiences Gained and Lessons Learnt”
Michael Jones (Antiquities Conservation Project, American Research Center in Egypt)
I was surprised to learn in this talk that ARCE’s fantastically comprehensive conservation and education programs in Egypt, underwritten by USAID, all began as a simple salvage response to the deadly 1992 earthquake. Michael spoke about building stakeholder support for conservation in Egypt, about the challenges of recent political turmoil, and showed us the wonderful results of conservation efforts at the Red Monastery in Sohag, among other sites. If you don’t know much about ARCE and its conservation programs, read more here.
“Training for the Conservation and Management of In Situ Mosaics: The MOSAIKON Initiative”
Leslie Friedman (Getty Conservation Institute), Jeanne Marie Teutonico (GCI), Kathleen Dardes (GCI), Thomas Roby (GCI), and Zaki Aslan (ICCROM)
Everything you’ve ever wanted to know about mosaics preservation, MOSAIKON is improving and teaching it. How to do a great job with locally available materials? They’re on it. Training for the next generation in-country? That, too. Conservation education in Arabic? Yes! Mentoring for conservators in the Middle East? Of course. What about my favorite site preservation solution, reburial? They’re studying the most effective ways to do it for mosaics. And of course, they are producing publications about it all. Check it out here.
“Digging on the Edge: Archaeology and Conservation at Kourion, Cyprus”
William Weir (University of Cincinnati), paper delivered by Stephen Humphreys
This site-specific case-study delivered great information and dramatic visuals of mosaics perched precariously on cliff-edge. It detailed, from the archaeologists’ perspective, the experience of working with conservators to document and save mosaics at a site. It also illustrated the complexities of conservation at archaeological sites; within a single site, the response to each mosaic differed depending on the mosaic’s location, construction, and the project’s ongoing research. A great talk illustrating successful collaboration in archaeological conservation and research.
“Painted Roman and Byzantine Cypriot Tombs: Properties, Processes and Preservation”
Ioanna Kakoulli (University of California, Los Angeles), Christian Fischer (UCLA), and Demetrios Michaelides (University of Cyprus)
This was an excellent talk for anyone interested in conservation of wall-paintings; these Cypriot rock-cut tombs have undergone structural damage from shifting bedrock and water damage from floods and rainfall. Ioanna also discussed the technical analysis of plaster, pigments, and binders for the paintings. This talk was also great for anyone interested in preservation and management of active tourism and pilgrimage sites: littering, vandalism, education and interpretation! How about making your conservation plan work for nearby hotels as well as an active monastery? Done. This talk detailed a comprehensive approach to a complex series of problems.
“Dilemmas in Preservation of Iron Age Sites in the Valley of Beer-sheba”
Zeev Herzog (Tel Aviv University)
Zeev’s talk beautifully, and humorously, detailed the decades-long effort to preserve mud-brick architecture at the site of Beer-sheba in Israel. An unusually inventive series of campaigns beginning in the 1960’s tried almost everything the determined teams could think of: chemical consolidation, firing the bricks in-situ with a portable kiln, capping the walls with new mudbricks, and, finally, capping and restoration with modern, fired bricks. In addition to illustrating a half-century of conservation and site preservation at a single site, this talk explored preservation and interpretation goals for important Iron Age sites in Israel.
“The Conservation and Technical Analysis of Ancient Near Eastern Objects at the Johns Hopkins Archaeological Museum”
Sanchita Balachandran (Johns Hopkins University)
As a conservator in a university archaeological museum, I’m always impressed by the JHU Archaeological Museum’s (and Sanchita’s) commitment to linking conservation to undergraduate teaching and using object-based projects to improve learning for students. This talk was especially useful because it had detailed case-studies of specific objects and projects. I especially liked the way Sanchita used these projects to develop transferable skills like observation and critical thinking for her students.
Back to our lofty goals – LeeAnn and I began this series of sessions with the goal of fostering collaboration and better integrating continuing education in the allied disciplines of conservation and archaeology. We want to bring more conservation information to our archaeology colleagues, and we hope to promote archaeology meetings as a forum for conservators. So far each session has been an excellent educational opportunity for us, and we hope our audiences have felt the same way. We’re grateful to our speakers in both years thus far and to ASOR for embracing the series.
Archaeological conservators, we hope you’ll join us for future meetings in San Diego (2014) and Atlanta (2015). If you’re willing to contribute to conservation sessions at either meeting, please write us! We’d love to hear from you. The deadline to submit abstracts for 2014 is February 15.
Suzanne Davis: davissl@umich.edu
LeeAnn Barnes Gordon: leeannbarnes@gmail.com
New Certificate in Digital Curation at Johns Hopkins University
Conservators today, like all museum professionals with responsibilities for collections care and management of cultural heritage, a
re worried about the ongoing maintenance and documentation of digital artifacts along with the conservation of physical objects in their collections. Johns Hopkins University’s MA in Museum Studies has announced a new certificate program in digital curation starting in January 2014 to address the need for formal education in this emerging field of stewardship.
The Certificate in Digital Curation is a specialized graduate program designed to prepare museum professionals to manage the growing volume and variety of digital assets of long-term value that museums are now routinely producing, acquiring, storing and sharing. Assets that need ongoing management include born-digital media art, research data, and documentation information stored in collections management systems about physical collection objects. And because most museums are now investing significant resources in digitizing collections—new acquisitions as well as for the purpose of loan, pre- and post-conservation treatment, and presentation online—they have a growing need to preserve their digitized assets.
Digital curation is defined as the management of digital assets over their lifetime. While the term is not synonymous with the modern understanding of the role of a museum curator, it does reflect the historical definition of curator as “keeper” of collections. It is also in alignment with the growing international digital curation community dedicated to maintaining access to digital data of long-term value.
The JHU digital curation certificate program consists of six courses, including five online and one on-site internship. Class size is limited to 15-17 students to allow for stimulating discussions with classmates and faculty. The curriculum includes the following 13-week courses:
- Digital Preservation, which covers the principles of digital preservation and the basics of developing and assessing digital preservation plans;
- Foundations of Digital Curation, which particularly addresses the beginning of the digital life cycle, including topics such as appraisal and selection, metadata standards, and intellectual property issues;
- Managing Digital Information, which emphasizes the management of digital objects in museum environments, including format transformation, management of surrogates, and workflows;
- Internship in a museum or related organization, including at least 120 hours on-site and completion of a project or paper;
- An approved elective chosen from the MA in Museum Studies curriculum, OR a second internship; and
- A supervised research project leading to a publishable or presentable paper that contributes to the new literature of the digital curation field.
Admission requirements for the digital curation certificate are:
- A master’s degree in museum studies or other relevant field,
- A bachelor’s degree and at least five years full-time experience working in a museum, library, archive, or related cultural heritage organization, or
- Students enrolled in the JHU MA in Museum Studies program upon completion of 5 courses.
A grade point average of at least 3.0 on a 4.0 scale is required for admission (work experience will also be considered). International students are welcome, but please note that TOEFL for students whose native language is not English or who have not graduated from an accredited college or university in the US is required.
The deadline for applications for the spring semester (classes beginning January 22) is December 16.
We are excited about this new program, and we encourage interested conservators and other museum professionals to contact one of us! Our contact information is provided below.
Phyllis Hecht, Program Director, MA in Museum Studies, phecht@jhu.edu
Joyce Ray, Program Coordinator and Lecturer, Digital Curation Certificate, jray16@jhu.edu
http://museum-studies.jhu.edu
http://advanced.jhu.edu/digitalcuration
Contemporary Print Identification Workshop
I was very happy to be part of the group of paper conservators gathered in Washington, DC from October 16th- 19th, 2013 for an in-depth study of print identification.
On day 1 and the first part of day 2, the workshop hosts Scott Homolka and Stephanie Lussier, led us through the different categories of print processes, starting with traditional, familiar techniques; then looking at examples of variations and recent developments that might be harder to identify unless you know what you are looking for. We also had several guest lecturers on day 2. Shelley Langdale, Associate Curator of Prints and Drawings at the Philadelphia Museum of Art, gave a lecture on the history of American printmaking studios in the 20th century. Keith Howard, Head of Printmaking and Research at the Rochester Institute of Technology, and Bernice Cross, master printmaker and owner of White Cross Press, brought in examples of contemporary prints created by them and their students in a variety of techniques for us to examine closely. Keith Howard invented the field of non-toxic printmaking with a process he named Intaglio-Type. He has published several books about his techniques and kindly gave each participant a copy of his most recent one, entitled The Contemporary Printmaker: Intaglio-Type & Acrylic Resist Etching, which is considered an essential manual by many people in the field of printmaking today. Lastly, the three printmakers behind the printmaking website Printeresting; Amze Emmons, R.L. Tillman and Jason Urban, gave a talk about the world of printmaking today.
Scott Homolka explains Richard Serra’s process of applying paintstick through silkscreen
Day 3 was spent at the National Gallery of Art. Lucky for us, the government shutdown ended just in time to spend our final day at our planned venue. Our first exercise in the morning was to identify the processes behind some prints in their collection. Some of the prints were particularly tricky, while others were deceptively easy. Then we went to the galleries for a tour of the exhibit Yes, No, Maybe: Artists Working at Crown Point Press given first by the curators Judith Brodie, head of modern prints and drawings, and Adam Greenhalgh, Andrew W. Mellon Postdoctoral Curatorial Fellow; then by one of Crown Point Press’ Master Printers, Emily York. This show features both working proofs and final prints in order to show the process that goes into making a print. Not all of the projects resulted in a print that the artist considered exhibitable, but all showed the creative and technical process behind the creation of prints and in some cases expanded what was possible in printmaking by pushing at the boundaries of the techniques.
Then it was back to the lab to look at Marian Dirda’s collection of printmaking papers from the late 20th and early 21st century. She is a great resource for information about fine art paper mills, and the papers that particular artists or printmaking studios prefer. In fact, I should emphasize that all of the lecturers of this workshop are very accessible and happy to share their knowledge with the conservation community. I recommend reaching out if you have questions about contemporary prints.
Rosemary Fallon practices a non-toxic version of the ‘spit bite’ technique
On day 4, we travelled to Pyramid Atlantic in Silver Spring, MD, where we got to try out Intaglio-Type printmaking for ourselves. Keith Howard and Bernice Cross led us through plate preparation, exposure, development, and printing. After 4 hours, we each had 1-2 prints to keep as references. Day 4 was absolutely my favorite part of the entire workshop. I learned that many studios offer summer weeklong intensive courses in printmaking. I hope to take one someday.
Thanks again to everyone who worked behind the scenes to make this workshop possible despite the government shutdown.
Contemporary Print ID Workshop Begins Despite Government Shutdown
We were all looking forward to spending three days at the National Gallery and one day at Pyramid Atlantic looking at prints, but just as the start of the workshop approached, the government shutdown began. With the National Gallery closed indefinitely, the workshop organizers had to scramble to make alternate arrangements.
As one of the participants, I am happy to report that they were successful. The Corcoran Gallery of Art was able to provide space for us, and we had a great first day. We reviewed familiar print techniques and terminology, and learned some new ones (for me, anyway), such as CNC, or computer numerical control- using a computer to achieve detail and precision that would be difficult or impossible by hand; soap ground, or white ground- a technique using a mixture of soap flakes, linseed oil, and water to create painterly white areas; and water bite- using an acid/water mixture on a tilted plate to create subtle gradations in depth.
We have begun day two and will be going more in-depth on contemporary print processes and hear from some guest lecturers, including: Marian Dirda from the National Gallery; Shelley Langdale, of the Philadelphia Museum of Art; and Amze Emmons, R.L. Tillman and Jason Urban from the website Printeresting.
Thanks to Stephanie Lussier, Scott Homolka, Abigail Choudry, and everyone from AIC and the Corcoran that made this workshop possible despite the shutdown.
Two Mellon Postgraduate Fellowships: Paintings and Objects Conservation
The Brooklyn Museum is offering two Andrew W. Mellon Postgraduate Fellowships, one in paintings and one in objects conservation. Each position will be two years with the option of a third, each commencing in September 2014. The Fellow will carry out examinations, research, and treatments, produce and maintain technical documentation, and participate in preservation activities within the Museum. The applicant should be a graduate of a recognized conservation training program.
Each Fellowship includes an annual stipend of $34,000.00, full benefits including health insurance, and $2,500.00 in travel funds. Applications should be sent electronically as pdf files containing: statement of interest, résumé, and three examination and treatment reports with photographic documentation. These documents should be sent to Ken.Moser [at] Brooklynmuseum.org. Please include in subject line: “Andrew W. Mellon Fellowships Conservation.” Confidential supporting letters from three conservation professionals familiar with the applicant’s work should be sent directly to: Ken Moser, Chief Conservation and Vice Director for Collection, 200 Eastern Parkway, Brooklyn, NY 11238, or at e-mail above.
All application materials must be received by January 1, 2014. Receipt of application will be confirmed by e-mail.
News from the Foundation of AIC
What IS FAIC Exactly?
You may have read about FAIC grants and scholarships that have been awarded, upcoming professional development offerings, publications, and other initiatives, but you may still have questions about what exactly FAIC does and what makes it different from AIC. We want to share with you the ways FAIC is working to advance the field of conservation, both nationally and abroad.
Here, we’re highlighting a Heather Brown, a recipient of the George Stout scholarship award, one of the many ways our donors support emerging conservators. We have so much to share, and you can learn more at www.conservation-us.org/foundation.
We hope that you enjoy our updates and welcome feedback from you!
The Foundation Team
(Eryl, Eric, and Abigail)
Meet Heather Brown, Graduate Fellow in the Winterthur/University of Delaware Program in Art Conservation, and George Stout Memorial Scholarship Award Recipient!
Heather attended the AIC-PMG/ICOM-CC-PMWG Photographs Conservation Joint Meeting
in Wellington, New Zealand, where she presented a paper titled
“Extending Our Reach: Effective Methods for Engaging Allied and Public Audiences with Photograph Preservation.”
How did you first get involved in conservation? What made you decide to pursue this career path?
As I was finishing up my undergraduate degree in art history, I became interested in the educational mission of museums, so I applied to a one-year MA course on the History and Theory of the Art Museum at the Courtauld Institute of Art in London. When I was accepted into the program, I knew that the Courtauld had an excellent reputation as a leading institute for art history and painting conservation; however, outside of a few mentions of the conservator as scientist during my undergraduate lectures, I did not truly know what conservation was. That was until the end of my first term, during a three-week concentration on the history of conservation. My class took a field trip to visit the labs at Tate Britain, and I was immediately fascinated. What I learned that day was that conservation is not just a science, but the three-legged stool of science, material culture, and fine art—all things that I am passionate about. I followed my instinct that told me a career in conservation was the perfect fit and, six years later, here I am in a graduate program.
How did this conference benefit you as an emerging professional?
Attending the AIC-PMG/ICOM-CC-PMWG Photographs Conservation Joint Meeting was an incredible opportunity for my professional development. With over 150 delegates from 18 countries, the greatest benefit of the meeting was the chance to connect with so many conservators in my specialty. I was able to meet many individuals that I have admired, and network with professionals from all over the world. I enjoyed spending time with fellow conservation students and previous employers, but also took advantage of the experience to make new friends with people that will likely be colleagues throughout my career.
Not surprisingly, many of the meeting attendees also presented in some way. I think this demonstrates that conservation is field eager to collaborate and share our knowledge with other members of the community. The talks were very well researched and presented, as were the posters, and ranged from traditional to contemporary media, and from scientific analysis to treatment and theory. I believe I learned the most from the workshops on Emergency Management and Contemporary Photography because they related directly to my interests and what I have been studying in my work at UD, but what made the Wellington meeting unique was the infusion of Maori culture into each event. Through their blessings, narratives, and handling of objects, it was clear how much the locals respect their heritage. My favorite Maori proverb from the closing of the meeting highlighted the conservator’s role as teacher: “With your full basket and my full basket, together we feed the people.”
Leaving New Zealand at the end of the meeting, I felt motivated to continue with my own research, and inspired to think creatively about my in-progress treatment projects. I hope to participate in many more meetings in the future, and I know that I will look back and appreciate having had the opportunity to make it to Wellington in 2013.
What would you tell someone who is thinking about donating to the George Stout Memorial Fund?
Whether you are an emerging conservator or a Fellow of AIC, attending meetings is an important aspect of professional development. Unfortunately it is not always possible for students to afford the expense as many have significant student loan and other debt incurred during years of preparation for graduate study. The George Stout Memorial Fund allows recent graduates and students, like myself, to take advantage of valuable educational opportunities that will shape our approach to conservation in the future. Your financial support really does make a difference. If you are thinking about donating to the Stout Fund, please consider how your own positive experiences as a student have affected your career. I encourage you to help!
