Category: Topics

AIC’s 40th Annual Meeting – Information on the NEH SCHC Grants at the Linking Environmental and Heritage Conservation luncheon. May 9, 2012

Below are the comments I made on the National Endowment for the Humanities grants for Sustaining Cultural Heritage Collections during the Linking Environmental & Heritage Conservation luncheon sponsored by the Committee for Sustainable Conservation Practice Committee at AIC’s 2012 Annual Meeting:

“Thank you Sarah Nunberg and thanks also to the Committee on Sustainable Conservation Practice. I appreciate having this opportunity to say a few words about NEH’s Sustaining Cultural Heritage Collections grant program, which we call SCHC for short. We’re emphasizing sustainability, which we know is a word with many meanings. Our intent is to help museums, libraries, and archives plan and implement preventive conservation measures in sustainable ways – in ways that balance preservation goals, cost, and environmental impact.

Some of what the program encourages includes:

  • a more risk-based, institution-specific approach to identifying preservation needs with less reliance on prescriptive targets and perceived ideals;
  • pragmatic thinking, looking first for passive ways to improve conditions for collections as well as ways to make existing buildings and systems work more effectively and efficiently;
  • matching preservation strategies to institutional capabilities; and
  • a greater awareness of an institution’s environmental footprint.

Rather than discuss the specifics of the grant program, which you can read about in our online handout  and in the guidelines, I want to stress the important role that the conservation community plays in helping NEH make this an effective grant program.

The program defines a kind of collaborative and interdisciplinary planning that we think can lead institutions to more sustainable ways of achieving preservation goals.  When we launched the program in 2009, the guidelines indicated that planning teams could include conservators, architects, engineers, facilities managers, administrators, curators and others. But conservators were not always on the teams that first year, so for the second year we added to our guidelines a statement that “a collections conservator must be a member of the project’s team.” And that has helped, but sometimes we’re seeing the conservator’s role at the front end of the planning process, providing reports and specifications, with no role or a limited one thereafter. We believe you should be at the table throughout the planning process, on into implementation, and beyond, so we’re thinking about clarifying this during our next guidelines revision.

Also, we see how important the advice is that conservators give to museums, libraries and archives through conservation assessments and consultations. Applicants append your reports and recommendations to grant applications to justify their funding requests. How can the field ensure that conservation consultants and assessors are prepared to provide risk-based, pragmatic advice that can lead to sustainable preventive conservation strategies? If more educational opportunities are part of the answer, I would mention that NEH has another grant program for preservation education and training, with a deadline coming up June 28.

It is also important for institutions to share more about what they are doing to balance preservation goals, costs, and environmental impact. SCHC grantees are required to write “white papers” to share lessons learned. Starting this summer, my Division of Preservation and Access will begin posting these papers on our Web page from grantees who have completed their projects. We’ll make sure to alert you to their availability.

And, in early August, we’ll be announcing the third round of SCHC awards, and I think there will be some projects that should be of great interest to the field, so stay tuned. Visit our website if you are interested in seeing a list of awards from the first two years.

I also want to mention that we will be revising the grant guidelines for the next deadline, which will be December 4, 2012. If you would like to offer comments or suggestions about strengthening the program and the guidelines, please contact me by June 8 by email to lword@neh.gov or call me at 202 606-8501.

Finally, I want to congratulate you on the formation of this committee on sustainable conservation practice and on the creation of the Collection Care Network. We look forward to following your very important work. Thank you.”

AIC’s 40th Annual Meeting – Architecture Session, May 10, “Preservation of Outdoor Public Murals: Research and Public Outreach” by Amanda Norbutus

Amanda Norbutus is in the Preservation Studies doctoral program at the University of Delaware, and has her undergraduate and master’s degrees in chemistry. Her presentation first outlined the state of public murals preservation and the issues faced today, then described current research into protective coatings for public murals and discussed a case study of a mural by Meg Saligman in Philadelphia that has been successfully treated.

The “Contemporary Mural Movement” refers to public murals produced since the 1960s (see cool book) and Amanda noted that there are more than 350 public art programs across the US that have facilitated the production of these murals. The murals often address themes of heritage and social and political equality. Loss and damage are rampant for a number of reasons: the murals are often spontaneous, not planned with long term preservation in mind; they are subject to extreme outdoor conditions; and they suffer from a lack of funding – while money is pledged for their production, none is usually allocated for preservation. The murals often also fall under various jurisdictional disputes – no one is quite sure who is responsible, or who has the right to make decisions about the wall or the image. To address some of these issues, Heritage Preservation has a program called Rescue Public Murals which carries out identification, documentation and conservation of murals, provides a network for those working on their preservation and researching best practice for mural production and conservation, and conducts fundraising (you can sign up here to get on RPM’s mailing list). They also have a partnership with ARTstor Digital Library to preserve images of murals, as not all can be physically preserved; there is a Community Murals collection in ARTStor.  Amanda noted one prominent case in which Ken Twitchell, an artist who had painted a mural (Homage to Ed Ruscha) on a federal government-owned downtown LA building, received a $1.1 million settlement after the mural had been painted over.

A few of the biggest problems facing murals are graffiti, physical destruction, and desaturation as the paint layers weather and are exposed to UV. UV radiation causes cracking, color change and fading. Oxidation chain reactions are the culprit on a chemical level. Research has been ongoing to look into protective UV barrier coatings. Some limitations are – scale, access, acceptability by stakeholders, safety (VOC’s), and ease of application. Some of the categories examined include acrylics, waxes, polyurethanes, and silanes.

In a study that began in 2005 at Delaware, Jessica Keister painted out more than 700 samples of blue, yellow and red colors of various types of paints from Golden, Novacolor, and Keim, in addition to some fluorescent colors. As coatings, she looked at B72 with Tinuvin, Novacolor, Golden MSA varnish, and a Triangle Triton coating (not reversible). The samples were placed on the roof and exposed to weather for three years. In 2008, Amanda began looking at the samples, noting the differences between colors – Hansa yellows did best – and paint systems – Golden heavy bodied acrylics did best. Golden MSA varnish seemed to protect the samples best – the Triangle coating was better at keeping mold and dirt off the surface, but its irreversiblity deducted crucial points from its usefulness. There was some success with B72 and Tinuvin (UV stabilizer), and in general two coats worked best of the protective layers. Amanda noted that products commercially sold as UV protective are not always so – she cited a test done by muralist Ed Massey on an industrial polymer coating that was purported to have a UV stabilizer, which failed completely. Finally, there needs to be more research into reversibility on a practical level, whether coatings can be effectively removed without affecting damaged paint beneath. Here’s more detail from Amanda about the parameters of the samples on an RPM blog post from 2008.

The Meg Saligman mural in Philadelphia is called Common Threads (1998), and when RPM assessed it in 2009 it was extremely faded. The artist didn’t want to repaint it, as she felt she would change it too much. Together with RPM and Winterthur Art Conservation faculty and students, the artist agreed to apply a coating of Golden MSA – but they had to get an exception from the EPA to use it on such a large scale. Applied after surface cleaning, this coating resaturated the colors significantly. They also then did some retinting with Sher-Cryl (Sherwin williams acrylic) and pigments (envirotint?) over the coating, then applied another layer of the Golden coating.

A key point is to work with muralists to prevent some of these problems from the get-go. Amanda noted that when doing this it’s important to address the bottom line – money – and emphasize that in the long run it is cheaper to use better products first rather than having to repaint or conserve a mural later.

She ended with a summary of other key points to remember when working with murals/muralists:

  • Get involved with the community
  • North facing walls are best
  • Clean and prime the wall first (amazing but often not done!)
  • Choose the right palette – no fluorescents, they fade fast!
  • Use quality paints
  • Use a coating layers
  • Use a UV absorber
  • Create a maintenance and monitoring plan
  • Consult with conservators and scientists when in doubt

 

AIC’s 40th Annual Meeting, Objects and Research and Technical Studies Joint Session, May 9. “The Use of Agar as a Solvent Gel in Objects Conservation” by Cindy Lee Scott

Perhaps better known as a medium used in biological studies, agar is gaining traction in the conservation profession as an ingredient for building poultices. The material, a combination of the polysaccharides agarose and agaropectin derived from the cell walls of an alge, is widely available, both in a highly purified form through laboratory supply houses and in a food grade form. It is used as a rigid gel to make poultices for flat surfaces or as more liquid sol-gel for three dimensional surfaces.

Cindy Lee Scott’s study of this material and possibilities for its use in removing shellac from ceramic surfaces was inspired by work using agar gels to clean outdoor plaster busts presented in 2010 by Paolo Cremnesi and published by Anzani et al. In their work, deionized water was the primary ingredient in their poultices, but Cindy Lee wondered if solvents and other cleaning agents could be added to these mixtures to extend their versatility and how these additions might change the stability and working properties of the gel.

After reviewing various properties of the material, particularly the manner in which the porosity of an agar poultice could be modified by altering its concentration, and then the  manner in which the gel is typically prepared, used and removed from a substrate (it peels off the substrate cleanly), Cindy Lee presented her own work, conducted in two phases.

The first phase of her work, a component of her thesis as part of her studies at the UCLA/Getty program, involved exploring agar as a gelling material for various cleaning agents on terracotta test tiles coated with a kaolinite-type slip with the goal of finding new ways to removing shellac from previous restored ceramics. She tested agar sol-gels mixed with ethanol, acetone and 5M sodium hydroxide, alone and in combination. She looked at efficacy of cleaning and clearance using visual analysis using a binocular microscope, UV-fluorescence microscopy, and FTIR spectroscopy.

She found that these agar gels performed beyond expectations particularly in comparison with other options tested for that study. She found that agar sol-gels had excellent working properties when they were mixed with ethanol and sodium hydroxide and had good clearance from the surface. Clearance improved for gels with a lower concentration of agar when Japanese paper was used as an intermediary layer.

The second phase of Cindy Lee’s work, undertaken during her internship at the Museums of New Mexico, extended the number of cleaning agents added to agar gels. Additives included solvents, surfactants, chelating agents, oxidizers, and acids. She noted working properties of each mixture, color changes to the gel that might lead to staining, and stability of the resulting gel. In this phase, access to analytical equipment was limited, so her analysis was generally limited to visual observation. Additionally, these mixtures were applied to plaster tiles coated with various materials including alizarin dye, shellac, various paints, PVA emulsion, and soil and artificially aged to test cleaning and clearance.

To summarize very quickly, as far as adding solvents go, best results for workability were achieved with ethanol, then Stoddard Solvent followed by acetone and xylenes. She noted that solvents added in too high a concentration could cause the gel to dissociate. Good working properties were also noted for gels made with the chelating agents, oxidizers, acids and bases tested. The surfactants tested caused complete dissociation of the gel. As far as cleaning efficacy, it appears that gels tested had a more difficult time removing dye and smaller particulates, but with regard to smaller particulates, concentration of agar within the gel appears to have a great influence. She found that efficacy could be improved by altering concentrations of agar and solvent, the temperature of the poultice on application, the length of application and number of applications of the poultice.

Cindy Lee concluded her presentation with  pros and cons of using agar-based solvent gels for objects conservation. Since she was kind enough to provide me with her paper and slide deck to help me write this post, I will share them here (if you click on the image it expands):

In short, I found her presentation to be an excellent introduction to this material and I can’t wait to experiment with it myself. It was also excellent to see the kind of simple testing we all do regularly in our own labs presented in a RATS/OSG session, and I look forward to seeing this work published. I don’t presently use Agar, but her presentation has encouraged me to do some experiments to see if this material would be appropriate to use in my own practice.

Creative Endeavors and Expressive Ideas: Emerging Conservators Engaging through Outreach and Public Scholarship – Emerging Conservators Connect via Social Media

ECPN interviews emerging conservators using social media to network with local conservators

Jennifer Martinez, Sacramento, CA

Tell us a little about yourself-your background, where you’re working now and what you do in your current position?

I graduated from San Diego State University with a B.A. in Art emphasized in graphic design. After working at a small design studio and then the prepress department of a print shop I decided to pursue my passion of book binding that I had discovered in college. I had a chance meeting with Dr. Sabine Hyland, Associate Professor in anthropology, who specializes in Inka culture and is currently investigating a khipu board with text. It was her mention of art conservation that I realized the importance of preserving these artifacts for such dedicated and enthusiastic people such as Dr. Hyland. Last summer, I completed a conservation internship at the UCLA Library Conservation Center. I am currently a preservation intern at the California State Library in Sacramento where I work on the general rare book collection, encapsulations, box making, etc. I am also a pre-program conservation intern at the Legion of Honor in San Francisco working on a special project of cleaning, rehousing and photographing over fifty glass plate negatives from the late 19th c.

What form of outreach are you using? If it is an online tool, please specify which platform (Blogspot, Tumblr, Twitter, etc.).

I created a blog in 2010 to follow my journey in conservation. I post updates to my Facebook account and joined the ECPN Facebook page to find more people in my area. I used the AIC web search to find local conservators and asked to visit their studios. One such visit let to a meeting with a big group of pre-program students who kept in touch through email. I posted comments on the AIC ECPN blog to ask questions and reach out to local pre-program students. I also joined the local art conservators guild to start being informed of all the conservation efforts going on in the area.

Who would you say is your target audience?

The target audience for my blog is other pre-program students and potential employers who might be interested in a more detailed account of my conservation activities.

What were/are you trying to achieve using this form of outreach? Was it met or solved using this particular approach or tool?

My blog was a way to keep me focused on the conservation environment and express my opinions and approaches to pursing grad studies. It’s a way to check in with myself to see what areas I have covered and gets me writing on a semi-consistent basis. Joining the ECPN Facebook page and being active early on in the comments section of the ECPN blog really helped with networking and meeting others in the area. Visiting labs has also been extremely successful in outreach to professionals.

Is there anything you would do differently, or any recommendations you would make to other conservators who might want to use your approach / tool for themselves?

Always follow up with people and if visiting labs send thank you cards for their time. If you do get a Meet and Mingle together make sure to keep in touch with those who came and perhaps get a email group going to keep each other updated if there is no guild in your area. I still have coffee once in a while with a couple girls I met from the very first lab visit I went on to a private conservator’s lab.

Have your outreach endeavors produced any unexpected outcomes or benefits?

After working with Melissa Stone of Zukor Art Conservation to put together the first Meet & Mingle she was lucky enough to come into contact with professional conservators who wished to be more involved with the pre-program students and another Meet and Mingle was created for professionals and students to interact. It was a great way to get involved in the local guild.

Check out Jennifer’s blog at:   www.jenmartinez.net 

 

Melissa Stone, Oakland, CA

Tell us a little about yourself-your background, where you’re working now and what you do in your current position?

My name is Melissa Stone.  I am a 27-yr old living in San Francisco, CA.  I have a BA in Art History and Ceramics and a Post Graduate Diploma in Paper Conservation from Camberwell College in London.  After coming back from London in 2009, I started volunteering for a private conservator in Oakland, CA.  I have been working for her as an assistant and office manager since.

What form of outreach are you using? If it is an online tool, please specify which platform (Blogspot, Tumblr, Twitter, etc.).

My main form of outreach has been Facebook and the ECPN network.  The first meeting that was put together was done so using Facebook.  We used the event feature as well as the ECPN website to advertise the event.  After the first event, I had a large list of emails of interested emerging conservators that I could use as a base for further meetings.  The second meeting relied heavily on it’s sponsors; the Bay Area Art Conservation Guild (BAACG).  I asked to use their email lists as well as my own to advertise the event.  In the invitation, I asked that people pass on information to interested parties in an effort to advertise as much as possible.  I also used Facebook to advertise this event, through the ECPN and BAACG website.

Who would you say is your target audience?

My target audience is anyone interested in conservation, no matter their level of experience.  When I first started learning about conservation and the different programs available to me I had a difficult time connecting with others and finding the information I was looking for.  My aim is to connect people together so that emerging conservators feel connected to each other and to the conservation community.

Is there anything you would do differently, or any recommendations you would make to other conservators who might want to use your approach / tool for themselves?

My recommendation to other conservators is to use professional organizations.  They are already established in the community and members generally know of emerging conservators in the area.  They are also a good resource when trying to find events to attend and often have spaces, volunteered by their members, that can be used for meetings.  For example, the BAACG meeting I helped to organize was held at a BAACG member’s framing business.

Have your outreach endeavors produced any unexpected outcomes or benefits?

The unexpected benefit of my outreach endeavor was getting to know established conservators in the area.  It turned out to be a great networking tool for myself and other emerging conservators and it was also beneficial to the professional organization because many of the emerging conservators became BAACG members.  It was also great to meet so many people my age who shared my interests.

To learn more about the Bay Area Art Conservation Guild, go to: http://www.baacg.org/

or its Facebook page, http://www.facebook.com/groups/152907821387505/

Creative Endeavors and Expressive Ideas: Emerging Conservators Engaging through Outreach and Public Scholarship – Outreach to Allied Professionals

ECPN interviews emerging conservators reaching out to professional allies

LeeAnn Barnes Gordon, Museum of Fine Arts, Boston

Tell us a little about yourself-your background, where you’re working now and what you do in your current position?

I’m a recent graduate of the Winterthur/University of Delaware Program in Art Conservation. I work at the Museum of Fine Arts, Boston (MFA) as the Sherman Fairchild Fellow in Objects Conservation. At the MFA I am engaged in a variety of general conservation activities including examination and treatment, scientific analysis, exhibitions, and outreach. Through my conservation duties I interact with a broad range of museum professionals, interns, and the general public.

I have a special interest in archaeological conservation, and last summer I worked as the conservator at an archaeological field school in Cyprus.

I have been actively involved with AIC undertakings including several recent OSG Archaeological Discussion Group projects and the AIC Conservation Wiki.

What form of outreach are you using? If it is an online tool, please specify which platform (Blogspot, Tumblr, Twitter, etc.)

In the fall of 2011 I worked with members of the OSG’s Archaeological Discussion Group to create a brochure on Archaeological Conservation.

Who would you say is your target audience?

The primary audience for the brochure is field archaeologists, including project directors, staff, specialists, and students.

What were/are you trying to achieve using this form of outreach? Was it met or solved using this particular approach or tool?

The OSG’s Archaeological Discussion Group wanted to raise awareness among archaeologists about archaeological conservation as a profession. The group was keen to find ways to improve the accessibility of conservators to address statements that archaeologists “don’t know how to find conservators” for their projects. The brochure was created specifically as a handout for archaeological conferences, such as the Annual Meeting of the Archaeological Institute of America (AIA), where it would supplement a booth display about conservation. The brochure provides a convenient, portable reference about archaeological conservation with a focus on excavations at both terrestrial and underwater sites. It includes online resources and contact information. Colorful photographs, many of which were supplied by emerging conservators working on archaeological materials, are featured throughout the brochure to illustrate a variety of conservation activities described in the text.  Most importantly, the brochure highlights archaeological conservation as a profession by emphasizing the specialized training that conservators of archaeological materials receive, as well as the role of our national membership organization, AIC, in establishing codes of ethics and guidelines for practice. At the 2012 AIA Annual Meeting the brochure was available at an exhibit booth hosted by AIC.

Is there anything you would do differently, or any recommendations you would make to other conservators who might want to use your approach / tool for themselves?

In general, creating a brochure as an outreach tool provides a flexible format that can be used in both a printed and digital form. At the AIA meeting we had positive comments and feedback about the brochure. I thought the handout was successful because it is a tangible resource that archaeologists can take with them, but it is important for AIC to maintain a presence at conferences and meetings like this in order to continue to network and reach more individuals.

Have your outreach endeavors produced any unexpected outcomes or benefits?

Not that I’m aware of….it may be too soon to say.

Check out the Archaeological Discussion Group’s website to learn more about this new initiative: www.conservation-us.org/archaeology

Archaeological Conservation Brochure Acknowledgements: Jessie Arista, Claudia Chemello, Suzanne Davis, Morgan Gilpatrick, Molly Gleeson, Susanne Grieve, Steven Koob, Ariel O’Connor, and Ruth Seyler.

 

Tara Hornung, Denver, CO

Tell us a little about yourself-your background, where you’re working now and what you do in your current position?

I came to conservation as an artist and discovered museums while an apprentice at the Fabric Workshop and Museum in Philadelphia.  I have worked in museums for over ten years and earned my masters degree from the Conservation Center, New York University.  Currently, I am a conservator in private practice providing conservation consultation, project management, and treatment services for archaeological, historic, and artistic objects in private and museum collections.

What form of outreach are you using? If it is an online tool, please specify which platform (Blogspot, Tumblr, Twitter, etc.).

I present workshops for artists on archival materials.  I am a photographer and printmaker, so I focus on teaching hinging, matting, and framing for artists who work on paper.  Although that is not my specialty as a conservator, I consult with colleagues on best practices and try to translate that for artists.

Who would you say is your target audience?

For my framing workshops, I am targeting artists who are interested in best practices for exhibiting their works on paper and photographs. Most recently, I presented a workshop at the Light Room:  A Photographic Community in Philadelphia.

What were/are you trying to achieve using this form of outreach? Was it met or solved using this particular approach or tool?

I try to teach the basic vocabulary of archival materials so that artists can choose products based on a knowledge of what I ‘archival’ means vs. a product label.   I demonstrate the basic techniques of archival hinging/ mounting of works on paper and photographs, and work with individuals to problem solve a best practice solution for their artistic vision.  Finally, I try to convince artists that it is worthwhile to choose archival materials.  I believe that the workshop format is successful because it is a forum for dialog and discussing specific solutions.

Is there anything you would do differently, or any recommendations you would make to other conservators who might want to use your approach / tool for themselves?

My approach is informed by my own background as an artist with an understanding of the cost and time of preparing works for exhibit.  I present best practices and then suggest a middleground based on how the workshop participants are willing to allot time and money.

Have your outreach endeavors produced any unexpected outcomes or benefits?

I convinced a workshop participant to stop using double stick tape to mount his salt prints.  I continue to learn techniques for mounting and framing works on paper and photographs, which expands my knowledge of the field of conservation and fosters commraderie with my colleagues.

To learn more about Tara’s work, check out:  http://artifactconservationservices.com/

Or her Facebook business page:  Artifact Conservation Services

Creative Endeavors and Expressive Ideas: Emerging Conservators Engaging through Outreach and Public Scholarship – Emerging Conservators in the Blogosphere

ECPN interviews emerging conservators authoring personal and class blogs

Steven O’Banion, Winterthur / University of Delaware, Class of 2012

Tell us a little about yourself-your background, where you’re working now and what you do in your current position?

My undergraduate degree is in Biochemistry.  However, my love for art and museums lead me to apply my scientific background to a career in art conservation.  I am currently a third-year student in the Winterthur/University of Delaware Program in Art Conservation (WUDPAC).  I have particular interests in the conservation of modern/contemporary art and outdoor sculpture.  I began my year at the Tate and am now at the Museum of Modern Art.  I have been very fortunate to be able to treat works composed of a variety of materials, ranging from metal to wax, and bitumen to latex.

What form of outreach are you using? If it is an online tool, please specify which platform (Blogspot, Tumblr, Twitter, etc.). 3. Who would you say is your target audience? (I’ll answer these two questions together)

I have a blog titled “When Super Glue Won’t Do” that is hosted by BloggerTM.  This blog chronicles my experiences as a conservation student.  As my blog is linked to the Art Conservation Page at the University of Delaware’s site, much of the traffic comes from those interested in perusing a career in art conservation.  However, the blog has an international following, which is particularly strong in the United Kingdom, Canada, Brazil, Portugal, Germany, and Croatia.

I also give talks to the public.

I was very excited to have been invited to speak to students at Bishop Wordsworth’s School in Salisbury about art conservation. In total, I gave six talks to over 350 students between year 9 and year 13 (which equates to 13 to 18 year-olds). In the British school system, students start to focus their studies earlier than students in the United States. As such, the purpose of my talks was to introduce the students to a possible career path that combines both art and science. With some of the more advanced classes, students pulled out their artwork (much of it involving mixed media) and we discussed how it may age. The students were engaging and asked some great questions.

I have prepared a talk titled “Plastics in Peril,” which focused on the importance of preventive care of plastics collections on plastics conservation.  I first presented the talk at the McNair Scholars Research Conference, which was held at the University of Delaware. The audience included undergraduates from across the country.  I also spoke at the Osher Lifelong Learning Institute at University of Delaware. The audience varied greatly in their knowledge of plastic, ranging from those with no in-depth knowledge of plastics to retired DuPont employees that invented many of the polymers mentioned in my presentation.

What were/are you trying to achieve using this form of outreach? Was it met or solved using this particular approach or tool?

My goal for “When Super Glue Won’t Do” is simply to share my experiences with the public.  I post about conferences, gallery openings, my projects, new products, etc.  A blog is a perfect vehicle to share information with those who have an interest in one’s content and wish to follow.

Is there anything you would do differently, or any recommendations you would make to other conservators who might want to use your approach / tool for themselves?

I always recommend that students and interns review their host institutions internet guidelines before blogging about anything related to their projects.  Also, don’t be afraid to have your supervisor follow your blog to review content.

Have your outreach endeavors produced any unexpected outcomes or benefits?

I find that the more I involve myself in public outreach, the more invitations I receive to participate in further outreach activities.

Check out Steve’s blog at:  http://www.whensupergluewontdo.com/

 

Heather Brown, Winterthur / University of Delaware, Class of 2014

Tell us a little about yourself-your background, where you’re working now and what you do in your current position?

My name is Heather Brown. I’m from Northern California, and I have a background in Art History. I’m really interested in modern and contemporary photographs and art on paper, things that I write about a lot on my blog. At the moment, I am a first year student in the Winterthur/University of Delaware Program in Art Conservation, where I also organize a blog for the class of 2014.

What form of outreach are you using? If it is an online tool, please specify which platform (Blogspot, Tumblr, Twitter, etc.).

I have a personal blog called Repair the Tear on WordPress.

Who would you say is your target audience?

In the beginning, my goal was to share my experiences with other pre-program conservators, but I think my audience has grown a lot in the last two years to include more of the general public. I went from one viewer a day on average to about about forty a day now. I know that’s probably nowhere near someone like Richard McCoy, but I think people can find my posts when they want to learn about conservation-related topics, and that encourages me to keep going, even when I’m busy with school.

What were/are you trying to achieve using this form of outreach? Was it met or solved using this particular approach or tool?

I hope that I’m teaching a non-specialist audience a few things about conservation, and making them interested in what we do. WordPress shows me my stats for each day: the links visitors used, the terms they searched, which posts they read, and what links from my page they clicked on. Seeing those results makes me feel like I’m actually reaching out to people and teaching them something new.

Is there anything you would do differently, or any recommendations you would make to other conservators who might want to use your approach / tool for themselves?

WordPress is great, and has worked really well for me. It’s so intuitive that I think anyone can easily create a professional-looking product. Even more than design, the most important thing about producing a blog is content. As long as there is new content on a regular basis, people will retain their interest. And the more you post, the more you will come up in search engines, so growth is definitely exponential.

Have your outreach endeavors produced any unexpected outcomes or benefits?

Yes! I’ve met a lot of other bloggers, and have even been asked for referrals for conservation services. The most exciting outcome was an email from a contemporary artist, in response to a blog I wrote on one of her pieces. It’s a really long story, but she found my blog through a google search, and ended up inviting me to a gallery opening!

Check out Heather’s blog at:  http://repairthetear.wordpress.com/

 

Megan Salazar-Walsh, Buffalo State College, Class of 2014

Tell us a little about yourself-your background, where you’re working now and what you do in your current position?

I am currently a first year student (class of 2014) in graduate school for Art Conservation at Buffalo State College, and Co-Outreach Coordinator for ECPN.

What form of outreach are you using? If it is an online tool, please specify which platform (Blogspot, Tumblr, Twitter, etc.).

Some of my classmates and I created a blog on WordPress. We update it periodically with activities we are doing in and out of class.

Who would you say is your target audience?

The target audience is mostly prospective students, friends, family, and the public at large. It isn’t geared towards established conservators, and we don’t feature any of the conservation treatments we are working on, so none of the content is very technical.  Posts are generally short and light-hearted.

What were/are you trying to achieve using this form of outreach? Was it met or solved using this particular approach or tool?

The main goal was to promote our graduate program and give a better understanding of how art conservators are trained. I think we did this successfully by sharing our personal experiences as students and writing about the broad scope of skills we’ve been learning in school.  Because we are so busy in grad school, and writing a blog is about the lowest priority, the posts are generally sporadic; this is something we expected from the start and I don’t think it interferes much with the blog’s success.

Is there anything you would do differently, or any recommendations you would make to other conservators who might want to use your approach / tool for themselves?

Having the support of all relevant parties is very important.  In writing a joint blog such as ours, clearly defining the rules and expectations of all those involved is vital.  Also, this may seem obvious, but you should always ask for permission before publishing names or images of people and artwork.

I would recommend a WordPress blog over Blogspot. The number of variables may seem overwhelming at first, but the WordPress platform gives users a lot more control over what the blog looks like and how it functions.

Have your outreach endeavors produced any unexpected outcomes or benefits?

We haven’t received much feedback on the blog except from family and friends; it is a nice way to keep them updated. I’m not sure if very many people ever read our blog, but if nothing else it has been an incentive to actively document our first year of school.  It sort of functions as a joint diary for the class of 2014; I think it will be fun to revisit the entries in a few years.

Check out Buffalo State College class of 2014’s blog at:  http://buffaloartconservation.wordpress.com/

Creative Endeavors and Expressive Ideas: Emerging Conservators Engaging through Outreach and Public Scholarship – Private Practices Build Conservation Awareness and Opportunities

ECPN interviews emerging conservators in private practice

Liz Chayes, Orange County, CA

Tell us a little about yourself-your background, where you’re working now and what you do in your current position?

I am a 2008 graduate of the UCLA/Getty Conservation Program, which is a three year graduate program that focuses on the conservation of ethnographic and archaeological materials. Through the program I gained conservation experience in museums and archaeological sites around the world, including Africa, England and Australia. Prior to graduate school, I worked in museums, archives and archaeological sites within Southern California for eight years. In addition to the daily management of Indigo Arts Alliance, I am currently working as an independent conservator for the Santa Barbara Museum of Art.

What form of outreach are you using? If it is an online tool, please specify which platform (Blogspot, Tumblr, Twitter, etc.)

In 2008, I co-founded a non-profit called Indigo Arts Alliance, which is a free web-based resource for conservators that contains financial support through grants in addition to news, job listings and a community network.

Who would you say is your target audience?

Our primary target is art conservators, and has expanded to include many interest levels and disciplines including museum professionals, collection managers, students, and the interested public.

What were/are you trying to achieve using this form of outreach? Was it met or solved using this particular approach or tool?

First and foremost we wanted to have fun and to help others in the field. Since our launch in the Fall of 2011, we have had a very positive response. One of the elements of the site we’re proud of is our Network page, where people can connect, create groups and invite others to post and chat. This area of our site is the fastest growing and has a really positive response. In addition, we established a grants program as a source of financial support for professionals in the field. This was an important part of our mission since we have known many conservators who have given up great opportunities for lack of funding. This year will be the first we are accepting applications for Indigo’s financial awards so it is very exciting!

Is there anything you would do differently, or any recommendations you would make to other conservators who might want to use your approach / tool for themselves?

I would say to find what you love to do then share it. For those involved with Indigo, we have a passion for philanthropy and conservation and it is a privilege to be able to combine them both for the benefit of others.

Have your outreach endeavors produced any unexpected outcomes or benefits?

The other day a pre-program student in rural Connecticut contacted Indigo and thanked us for being a resource for her as she didn’t have any in her immediate area- it inspired me to continue to be a source of support and information for others who are interested in the field at any level.

To learn more about Indigo Arts Alliance go to:  http://indigoartsalliance.org/

 

Emily G. Phillips, Essex, NY

Tell us a little about yourself-your background, where you’re working now and what you do in your current position?

I am a 2008 graduate of the Buffalo State College Art Conservation program, specializing in paintings conservation. Soon after I established a private practice located in Essex, NY (close proximity to Burlington, VT). As owner and operator I oversee all the day to day management of running a business and get to work on a pretty wide range of projects and clients.

What form of outreach are you using? If it is an online tool, please specify which platform (Blogspot, Tumblr, Twitter, etc.)

I currently use Twitter, Facebook, LinkedIn and a WordPress blog. They are mostly linked to eachother for ease of management.

Who would you say is your target audience?

My target audience at this stage is the general public and fellow conservators.

What were/are you trying to achieve using this form of outreach? Was it met or solved using this particular approach or tool?

I am trying to peak there interest and educate them on our field.

Is there anything you would do differently, or any recommendations you would make to other conservators who might want to use your approach / tool for themselves?

Pace yourself and plan. The web is getting noisy with everyone starting up blogs and facebook pages and twitter accounts. Content has to be good, nice images help too. Also try to link your online tools so they update eachother, makes them more manageable.

Have your outreach endeavors produced any unexpected outcomes or benefits?

I am constantly blown away by a follower from Japan “liking” a post, or someone in Australia retweeting my tweet. It really helps when in private practice to feel the world is accessible and people are listening.

To learn more about Emily’s practice and online media network, visit:

www.phillipsconservation.com

http://www.facebook.com/pages/Essex-NY/Phillips-Art-Conservation-LLC/276647438370?ref=search

http://twitter.com/adkconservator

AIC’s 40th Annual Meeting – CIPP Business Meeting – “Levity and Brevity”

The following was written by George Schwartz, Chair, CIPP

To call what we had on Tuesday, May 8, 2012 a CIPP Business Meeting would be a misnomer. We conducted no official business, because we got carried away, absorbed in a deep and animated conversation with AIC Board President Meg Craft and AIC Executive Director Eryl Wentworth who generously accepted our invitation and spent a great deal of their precious time explaining the structural differences between Specialty Groups, Networks and Task Forces, which are forms of organizational groups within the umbrella of the AIC. We were attempting to determine if it might be advantageous for CIPP to change to one of these other formats and the ramifications of such a change.

Meg and Eryl commanded the attention of all attendees who asked many clarifying questions and the time just flew by in a productive conversation. While there were no conclusions reached, after weighing the pros and cons, we decided to remain with the present structure while keeping our options open as we go forward. I want to thank Meg and Eryl for their insight, patience and for the time they so graciously granted us.

Our Business meeting adjourned with many small groups engaged in conversation long into the night, with some adjourning to the bar. In a different post, I will welcome our new directors to their positions and conclude Board business in accordance with customary practice.

AIC’s 40th Annual Meeting – CIPP Seminar Reaching Out – The Art of Using Outreach to Grow Your Business

The following post was written by CIPP Chair George Schwartz:

Those in attendance in the fully booked CIPP Seminar Reaching Out  – The Art of Using Outreach to Grow Your Business were not disappointed. We held our breath listening to all the exceptionally useful and practical material presented by out two charismatic and animated presenters.

Ann Shaftel took the podium first  and held our attention with her anecdotes, while giving us practical advice on how we can increase our visibility to the public. Ann spoke from the perspective of many years of practical experience. She wrote a regular newspaper column as an expert in preservation, conservation and restoration, appeared on regular radio and TV programs, live to air call in shows, and even movies.

She explained practical ways of capturing the attention of the audience, to educate and enlighten listeners on the finer points of our field. Ann addressed ethical and legal issues that can become unforeseen pitfalls in doing public outreach. It was obvious that her hard work in putting together her program paid off by capturing the attention of everyone present. We’re grateful for her efforts.

Scott Haskins followed with his presentation after a brief intermission. Those of you who know Scott, already appreciate his success and expertise in social media outreach. During his rapid-fire presentation we also got to appreciate his incisive critical thinking, his quick wit and exceptional good humor.

Scott came very well prepared. Within minutes of the start, we were making unbelievable videos without any camera equipment and posting them on YouTube. Here is a link to the one I made: http://tinyurl.com/7p6l7co . Most everyone came up with something useful just by following Scott’s instructions. He showed us other facilities to produce useful promotional outreach materials and what’s even more important, advice on how to determine who our audience is, what the content needs to focus on and how to avoid the mistakes that so many people tend to make.

I cannot meaningfully summarize the hundreds of points we touched on, but check back here on the AIC Blog as Scott has prepared some useful information which he plans to post online soon.

In closing I have to say, that the knowledge that I gleaned during these presentations was alone worth the cost of my trip to Albuquerque!

AIC’s 40th Annual Meeting, Objects and Research and Technical Studies Joint Session, May 9, “A Comparative Study of Protective Coatings for Marble Sculpture in the Museum Setting,” by Laura Kubick

One of the reasons I enjoy joint sessions is the more focused theme and connection between the talks. Laura provided a nice overview of the research that she carried at out at SAAM on marble coatings. Three white marble sculptures in the collection- by Rinehart, Cooper, and Houdon- attract a lot of attention and love from the public. Some love comes in the form of red lipstick. Laura took this as an opportunity to explore traditional and newer materials for coating marble and determine which have the best protective properties.

Her testing methods appeared thought out and well carried out. She tested Cosmoloid 80H wax and Ketone N resin, Renaissance microcrystalline wax, Methocel A4C Methyl Cellulose, and Avalure AC 315 Acrylic Copolymer 5% and 7% in ethanol. She tested polished and unpolished marble. All the coatings were applied by brush. They were tested for their appropriate aesthetic properties, effectiveness as a barrier, safe application and removal, reversibility and aging. Quite a feat if I say so. Needless to say there is more testing that can be done. However, her initial findings are quite interesting. To measure changes in color and gloss Laura used a Spectro Eye spectrophotometer and gloss meter. The marble samples were stained with lipstick, red wine, and a sharpie. Laura provided a nice graphic showing her samples and the order of testing, aging, cleaning, etc.

Overall, from the testing Laura concluded that none of the coatings were perfect. There is a give and take with all. However, most importantly Renaissance wax was NOT a good barrier- I found it shocking that the red wine etched the marble through all of the coatings except Avalure. The wax resin and avalure did the best in the aging test. Methyl cellulose had the best reversibility, while microcrystalline wax was the worst. It was also interesting to hear that the colorimeter readings were consistent with what she observed by eye. Although nothing can replace scientific readings it is nice to know that our trained eyes are good for something. She also felt that more research should be done on methyl cellulose and Avalure since they tested tested so well. Her tests were only done on small samples, but the practicality of applying it to a large sculpture might change things. Avalure is somewhat difficult to work with, but perhaps a spray application would be better. By the way, Avalure is available through the manufacturer and apparently they are generous with their free samples.

I don’t know if this would be possible, but a follow up to this study might be interesting to look at the penetration of these coatings into the marble. Perhaps looking at a cross-section with FTIR-ATR…