AIC’s 38th Annual Meeting – AIC Blog Archives: Conservators Converse

ECPN Interviews: Wooden Artifacts Conservation with Caite Sofield

To promote awareness and a clearer understanding of different pathways into specializations that require particular training, the Emerging Conservation Professionals Network (ECPN) has been conducting a series of interviews with conservation professionals in various specialties. We began the series with Chinese and Japanese painting conservation and continued the series by focusing on practitioners working with Electronic Media. Now, we are interviewing conservation professionals working in AIC’s Wooden Artifact Group (WAG). These conservators work with various wooden objects, which can range from furniture, musical instruments, waterlogged wood, frames, and more! We’ve asked our interviewees to share some thoughts about their career paths, hoping to inspire new conservation professionals and provide valuable insight into these areas of our professional field.

In our first interview from the WAG series, we spoke with Caite Sofield, a third year fellow in the Winterthur/University of Delaware Program in Art Conservation (WUDPAC). Caite is specializing in Furniture Conservation, and she is also a graduate intern in Furniture Conservation at The Philadelphia Museum of Art (PMA). She received a Bachelor of Art in Italian Studies from Ithaca College, with a double minor in Art History and Classical Studies.

ECPN: Please tell us a little bit about yourself.

Caite Sofield (CS): I am a third year graduate fellow in the Winterthur/University of Delaware Program in Art Conservation (WUDPAC), specializing in Furniture Conservation. I am completing my internship year in Furniture Conservation at The Philadelphia Museum of Art (PMA). I graduated from Ithaca with a B.A. in Italian Studies, and a double minor in Art History and Classical Studies. I grew up in New Hampshire and did much of my pre-program work in the New England area.

ECPN: How were you first introduced to conservation, and why did you decide to pursue conservation?

CS: My first introduction to conservation was during an undergraduate internship in London at the Leighton House Museum. Organized through the Art History Department of Ithaca College, my internship was divided between assisting the Curator of Collections and Research and working with a Conservation Cleaner in the Linley Sanbourne House, a historic property also managed by LHM. I found this work dynamic and compelling, and was surprised to discover that I learned as much (if not more) about history from working in the house and on the objects than I did in my associated art history course. I was so excited to connect with history in this tangible way, and I knew that I wanted to seek similar experiences in the future.

ECPN: Of all specializations, what contributed to your decision to pursue furniture conservation?

CS: Furniture conservation appealed to me because furniture, as a subsection of decorative arts, can include a wide variety of materials, and there is a wonderful overlap between architecture, textiles, and objects. I love seeing the way the intended function of an object affects its design and how that changes over time. I am particularly fond of the forms that are highly specific and representative of a small window in time, like the voyeuse of the 18th century and the telephone table of the 20th century.

ECPN: What has been your training pathway? Please list any universities, apprenticeships, technical experience, and any related jobs or hobbies.

CS: After my introduction to conservation in my junior year at Ithaca College, I began researching conservation programs and the prerequisites. I was only one course away from completing my degree requirements in Italian Studies at the time, so I used my available electives to start checking off the required courses I hadn’t taken yet, including the studio art and chemistry courses. In my senior year, the heads of the Chemistry and Art History departments teamed up to teach a course called Chemistry and Art. This was a great overview of how much science affects art and gave me great perspective on why I needed to take chemistry courses to continue in the conservation field.

I continued working through the pre-reqs by completing non-degree coursework at St. Anselm College and the University of New Hampshire, near my hometown, while working as a veterinary assistant part-full time. Because I knew I was interested in furniture conservation, I sought out woodworking courses to fill the 3-dimensional design requirements. I did weekend and evening workshops, and a 10-week Furniture Making Intensive at the Homestead Woodworking School in Newmarket, NH. Later in my pre-program path, I took the 12-week Furniture Intensive at the Center for Furniture Craftsmanship in Rockport, ME.

My first pre-program internship was in the furniture lab at the Museum of Fine Arts, Boston. After that, I worked on an Asian lacquer project and outdoor sculpture at the Preservation Society of Newport County. I volunteered at the New Hampshire Historical Society for a few months, documenting and re-housing embroidery samplers. I returned to Newport for another six months to continue work on the outdoor sculpture project. My final pre-program internship was at the Collections Conservation Branch of the National Park Service.

While in the WUDPAC program, I have interned at the Furniture/Wooden Artifacts Lab of the Colonial Williamsburg Foundation and worked on archaeological documentation of furniture and architectural fragments of the Swedish battleship, Vasa, at the Vasa Museum in Stockholm.

ECPN: Are there any particular skills that you feel are important or unique to your discipline? Can one solely be a ‘wooden artifact conservator,’ or is knowledge of composites and how to treat other materials inherent to the work?

CS: Knowledge of wood science and woodworking skills are hugely important to furniture conservation, as wood is the predominant material you will come across on a day-to-day basis. I suppose one could solely be a ‘wooden artifact conservator’ if the collection needs supported it, but I am really interested in furniture more broadly, and for that, you need to have a working knowledge of other materials and surface techniques (ie: gilding, metals, leather and other organics, and stone). Because of the diverse materials a furniture conservator can encounter, I have actively sought out institutions with encyclopedic collections or projects that may indirectly relate to furniture to broaden my exposure.

ECPN: What are some of your current projects, research, or interests?

CS: I am working on two painted architectural panels from a period room at the PMA, which comprises painted wall paneling from a 17^th century Parisian house. They were removed from exhibition so that we could replace degrading 1950’s era silk wall coverings. Upon deinstallation, we discovered that one panel had structural damage from weakened wood around an undocumented repair. In addition to the treatment, the curator would also like to have some technical analysis completed to begin the process of researching all of the painted paneling in the room. One of my favorite parts of working in an active lab in a very busy museum is that there are always new and interesting projects coming through or unexpectedly popping up!

One wall of the gallery with the degrading silk (left). The same wall with the new fabric and trim. (right). [Photos: Courtesy of the Philadelphia Museum of Art by Jason Wierzbicki.]

ECPN: In your opinion, what is an important research area or need in your specialization?

CS: As I mentioned before, I am fascinated by the way that function affects design in the furniture field but also how changes in technology influenced changes in design. I love how the use of tubular steel in the Bauhaus movement revolutionized furniture production and how the development of foam technologies all but eliminated tradition horsehair and sprung upholstery. There has been plenty of research into the care and treatment of these materials, but it’s an area that I personally would like to explore further.

One of the small panels taken down for treatment and technical examination. [Photo: Courtesy of the Philadelphia Museum of Art by Jason Wierzbicki.]

ECPN: Do you have any advice for prospective emerging conservators who would like to pursue this specialization?

CS: That is a tough question. In most regards furniture conservation is like any other specialty, but I think one thing I’ve learned is the value of trying other things and all specialties. As I reflect on my pre-program experience and approach the end of my graduate program, I am struck by how each of my classmates thrive in their respective specialties; what seems routine for them is awe-inspiring for me, and vice versa. By exploring other specialties (and other career paths) I have found an area that fits. I love historic costumes, but thread counts and invisible stitches make my head hurt. I had a blast working on outdoor sculpture, but the science of stone is really confusing to me. When I talk about a structural repair, or I am dealing with tented veneers, my classmates are overwhelmed. But, by working in different specialties and learning as much as I can within the field, I can appreciate the skill and knowledge of others and know where to look, or to whom to turn, when I run into a material with which I am less familiar.

ECPN: Please share any last thoughts or reflections.

CS: I found it very useful to have woodworking experience before I started the WUDPAC program. It is no longer a requirement of admission as a furniture major, nor do you have to declare a major at the time of admission; however, if it something you are drawn to, having some of those skills in hand will be advantageous down the line. One doesn’t have to be a master craftsman to conserve objects, but a working knowledge of techniques and troubleshooting will only help in care and treatment decisions.

*Featured image: Caite during the installation of new fabric in the gallery. [Photo: Courtesy of the Philadelphia Museum of Art by Jason Wierzbicki.]

ECPN Interviews: Electronic Media Conservation with Christine Frohnert

To promote awareness and a clearer understanding of different pathways into specializations that require particular training, The Emerging Conservation Professionals Network (ECPN) is conducting a series of interviews with conservation professionals in these specialties. We kicked off the series with Chinese and Japanese Painting conservation, and now we are focusing on Electronic Media Conservation (EMG). These conservators work with time-based media, which is characterized by artwork with durational elements, such as slide, film, and video, analog or born-digital materials, performance, light or kinetic art, sound or software-based art. We’ve asked our interviewees to share some thoughts about their career paths, which we hope will inspire new conservation professionals and provide valuable insight into these areas of our professional field.

In the first interviews for this series, we spoke with emerging conservators starting in the early stages of their careers working in time-based media, which included Alexandra Nichols, Nicholas Kaplan, Brian Castriota and Yasmin Desssem. In this interview, we hear from Christine Frohnert, a conservator who graduated in 2003 from the University of Arts in Berne, Switzerland, where she majored in the Conservation of Modern Materials and Media. Prior to establishing a private practice for Time-based Media (TBM) with colleague Reinhard Bek, Christine served as chief conservator at the Museum Ludwig in Cologne, Germany for twelve years and as chair of the AIC Electronic Media Group from 2008-2012. In 2012, she was named the inaugural Judith Praska Distinguished Visiting Professor in Conservation and Technical Studies at the Conservation Center at the Institute of Fine Arts, New York University (CC/IFA/NYU), where she now serves as the Time-based Media Art Conservation Curriculum Development Program Coordinator.

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Christine Frohnert and Reinhard Bek [Photo: Reinhard Bek]

ECPN: Please tell us a little bit about yourself and your current position.

Christine Frohnert (CF): I am a conservator of contemporary art with a specific focus on technology-based art. Reinhard Bek and I founded Bek & Frohnert LLC in NYC in 2012- a conservation studio in private practice specializing in the conservation of time-based media (TBM). We are both German, have been trained in Europe, worked in leading positions in museums, and have been involved in international research projects.

Bek and I focus on the conservation of artworks with a durational element in our practice—such as sound, moving image, performance, light, or movement, that unfolds to the viewer over time via slide, film, video, software, or the internet. Since the studio’s inauguration, we have responded to individual needs for both TBM conservation treatments and consulting requests. However, over the last several years, we have experienced a rising demand to serve as consultants for different U.S. institutions without time-based media conservators on staff, as well as for collectors and artists. As many TBM art collecting institutions are facing rapidly increasing needs to adequately acquire, preserve, exhibit and store TBM works, we are responding to this development and our work is more geared towards long-term collection care and the development of preservation plans, as well as education.

ECPN: How were you first introduced to conservation, what contributed to your decision to specialize in time-based media, and why has been your training pathway?

CF: As with most of my colleagues, I started conservation being exposed to more traditional media such as paintings and sculpture. About 20 years ago, I realized that technology-based artworks can be seriously harmed or lost without a new conservation specialty being established. I became fascinated with TBM, and I learned about the newly established program ‘Conservation of Modern Materials and Media’ at the University of Arts, Berne, Switzerland. I graduated from there in 2003.

ECPN: Are there any particular skills that you feel are important or unique to your discipline?

Christine Frohnert [Photo: Marlies Peller]

CF: A complex range of skill sets are needed, which should be solidly grounded in the conceptual framework of contemporary art conservation as a whole. It requires knowledge in electrics/electronics and programming, and an in-depth understanding of each media category, technology and its preservation, documentation and digital preservation needs. As our profession is highly collaborative by nature, soft skills are equally important to collaborate with all the stakeholders in the institutions involved, as well as with affiliated external professionals such as engineers, computer scientists, and technicians. This is important when defining, communicating, and verifying goals with vendors.

As many museums recently formed or are currently forming ‘Media Teams’ in their respective institutions to tackle their individual TBM collections needs, we have witnessed a rapidly increasing need for skilled labor, dedicated TBM lab space, equipment, and the trustworthy storage and management of huge amounts of born-digital or digitized artworks.

ECPN: What are some of your current projects, research, or interests?

CF: Currently our recent projects include consultation with several institutions to analyze their TBM collections and develop custom-designed conservation strategies according to their individual collections needs and skill sets of staff. These consultations may include surveys, assistance with media acquisitions, exhibitions and artwork documentation, storage, and migration. Bringing in external expertise often provides the bridge that many museums and their TBM stakeholders do not find in-house or do not have the capacity to coordinate. This work helps to identify and structure these needs more clearly and often provides the basis for institutional development and the implementation of larger collection care projects.

Recent and current treatment-based activities range from analyzing the ‘mechanical’ programming of a light-based work, the conservation of a seven channel-video wall from 1998 consisting of 207 Cathode Ray Tube monitors, digitization of analog video, and the reverse engineering of custom-designed large format slide projectors, to name a few.

Cathode Ray Tube monitor [Photo: Marlies Peller]

ECPN: In your opinion, what is an important need in your specialization?

CF: the most pressing need is education. Technology-based art is considered to be very sensitive to damage, loss, misinterpretation, and incorrect installation, due to its very specific and sensitive relationship to time, space, and concept. Damage or loss of a TBM work cannot be seen by simply examining the physical material and may not be immediately apparent unless the individual has received specialized training.

TBM conservation has been identified as a priority by many museums, collectors, and funding agencies. However, the educational opportunities are still limited, and there is currently no U.S. graduate program offering a degree in this specialty (but this will change soon!). As a result, a huge amount of our most recent cultural heritage is at risk, in an unknown condition, and/or not sufficiently integrated into museums’ missions of collecting, exhibition, conservation, research, and education.

However, thanks to the generous funding provided by the Andrew W. Mellon Foundation, the Conservation Center at the Institute of Fine Arts, NYU, started the TBM art conservation curriculum planning project in 2016.The new TBM specialization will be integrated within its current curriculum starting in fall 2018. This will be the first conservation program offering this specialty in the U.S. and the graduates will receive a dual degree: an MS in the Conservation of Historic and Artistic Works and an MA in the History of Art and Archaeology.

ECPN: Have you been involved in any advocacy, outreach, teaching or professional service roles in your specialization?

CF: During my time as EMG (Electronic Media Group) board Chair from 2008-2012, we received numerous request from the membership to offer continuing education opportunities, and in response EMG launched the conference series entitled TechFocus in 2010. The series is designed to provide hands-on guidance and systematic education on different media categories (TechFocus I: Caring for Video Art, Guggenheim Museum, NY, in 2010; TechFocus II: Caring for Film and Slide Art, Hirshhorn Museum and Sculpture Garden, Washington, DC, 2012; TechFocus III: Caring for Software-based Art, Guggenheim Museum, NY, in 2015). In addition, the first periodical worldwide that focuses on TBM art conservation was launched by the EMG in 2012, The Electronic Media Review.

At the (CC/IFA/NYU) I have offered instruction in TBM conservation art in different capacities, including the course Art With A Plug: The Conservation of Artwork Containing Motion, Sound, Light, Moving Images and Interactivity (Fall 2012 and Spring 2015).

Several professional organizations and initiatives have created additional targeted educational opportunities and collaborations. However, despite all these good developments, further training is needed at the graduate level, as well as in continuing education for professionals, to address the fast-increasing demands of TBM conservation.

Under the leadership of Dr. Hannelore Roemich, Professor of Conservation Science and TBM program Director, I have also served as TBM Program Coordinator to assist in identifying skill sets and core competencies of TBM conservators that translate into the educational needs to develop a TBM curriculum. In the fall of 2016 the Conservation Center offered the course and public lecture series Topics in Time-based Media Art Conservation, which included ten lectures by leading art historians, artists, computer scientists, and conservators. These events were an important outreach component of the curriculum development project, and they created the opportunity to promote the field, foster the dialogue between TBM professionals, and build a community.

We are now organizing the upcoming symposium It’s About Time! Building a New Discipline: Time-based Media Art Conservation to be held in May 2018. The two-day symposium will provide a forum for educators, artists, art historians, museum curators and directors, collectors, gallerists, engineers, computer scientists, and conservators to promote TBM art conservation as a discipline on an international level and will conclude the TBM curriculum planning phase.

ECPN: Do you have any advice for prospective emerging conservators who would like to pursue this specialization?

Cathode Ray Tube monitor [Photo: Christine Frohnert]

CF: While I am not comfortable issuing general advice, I can say that I personally appreciate working with students and colleagues in our field, and that this has shaped and enriched my professional life. If you are a strong communicator who is interested in the intersection of art and technology, art conservation, and art history– and maybe you even have a background in one or more of the related media fields–why don’t you join the EMG sessions at the AIC annual meetings and/or attend the upcoming NYU symposium to engage with the TBM community and find out if this specialty may be just the right fit for you?

ECPN: Please share any last thoughts or reflections.

CF: We currently see an extremely high demand for trained TBM conservators. This can be measured by the exponentially increasing job offers worldwide and the challenges many institutions face to find qualified candidates. So, it is safe to say that this is the best moment in time for becoming a TBM conservator in this country. If you are interested in pursuing a career in TBM conservation- check out the new TBM curriculum page at the Conservation Center, Institute of Fine Arts at NYU.

ECPN Interviews: Electronic Media Conservation with Yasmin Dessem

To promote awareness and a clearer understanding of different pathways into specializations that require particular training, the Emerging Conservation Professionals Network (ECPN) is conducting a series of interviews with conservation professionals in these specialties. We kicked off the series with Chinese and Japanese painting conservation, and now we are focusing on practitioners in AIC’s Electronic Media Group (EMG). These conservators work with time-based media, which can include moving components, performance, light or sound elements, film and video, analog or born-digital materials. We’ve asked our interviewees to share some thoughts about their career paths, which we hope will inspire new conservation professionals and provide valuable insight into these areas of our professional field.

This is the third post from ECPN’s EMG blog series, for which we first interview Nick Kaplan and more recently, Alex Nichols. For our third interview from the EMG series, we spoke with Yasmin Dessem, currently Head of the Audiovisual Preservation Studio at UCLA Library where she serves as the technical lead as the library continues to develop its program of preservation, digitization and access of its moving image and sound holdings. Previously she managed archive deliverables for new feature releases at Paramount Pictures. She has experience working with a wide variety of moving image and sound formats, as well as pre-film animation devices, silent-era cameras, costumes and paper collections. Yasmin holds Master’s degrees in Art History and Moving Image Archive Studies from UCLA.

Yasmin Dessem (left) and Allie Whalen (right) cleaning and relubricating a Betacam deck. [Photo: Walter Urie]

ECPN: Please tell us a little bit about yourself and your current position.

Yasmin Dessem (YD): I oversee the preservation of moving image and recorded sound materials at the UCLA Library’s Preservation Department. For nearly 90 years, the UCLA Library has collected audiovisual materials with content such as home movies, oral histories, and radio broadcasts. Examples are home movies of Susan Sontag’s parents sailing to China in the 1920s and field interviews with Watts residents after the 1965 riots. Audiovisual preservation (AV) at the library is a relatively young unit—a dedicated AV preservationist first came on board in 2011. We offer a number of in-house digitization and preservation services and are currently focusing on increasing our capacity and launching a survey.

ECPN: How were you first introduced to conservation, and why did you decide to pursue conservation?

YD: The 1996 re-release of the restored version of Vertigo first made me aware of film restoration and preservation as an actual practice. Later, as I was finishing my Masters in Art History at UCLA, I took a wonderful class on restoration, preservation, and conservation with Professor David A. Scott. The course covered the material care issues and decision-making ethics for a wide breadth of cultural heritage materials. The class struck a deep chord with me, but I was eager to graduate and start working. After graduation, I ended up working in the film industry for about six years. I was tracking down historic stock footage at one job when my mind circled back to the preservation field as I considered how the films were stored and made available. I had entertained the idea of potentially returning to graduate school to study art conservation some day, but around that time the idea of film preservation as a possible career path began to fully materialize for me. As a result, I began exploring potential graduate programs.

ECPN: Of all specializations, what contributed to your decision to pursue electronic media conservation?

YD: My longtime love for film and music intersected with my curiosity for all things historical and technology-related. These were topics that in one form or another always interested me, but I don’t think I had a full grasp on how to combine them meaningfully into a profession. Preservation was the missing key. My exposure to preservation and conservation while studying art history and my later experience working at film studios both helped direct me towards the specialization.

ECPN: What has been your training pathway? Please list any universities, apprenticeships, technical experience, and any related jobs or hobbies.

YD: I pursued my studies in the Moving Image Archive Studies (MIAS) Program at UCLA—which persists today as a Master of Library and Information Science (M.L.I.S.) with a Media Archival Studies specialization. While in the program, I completed internships with Universal Pictures and the Academy of Motion Pictures Arts and Sciences, and volunteered at the Hugh Hefner Moving Image Archive at the University of Southern California. Throughout the two-year MIAS program, I also worked as a fellow at the Center for Primary Research and Training program at UCLA Library Special Collections, where I learned archival processing. My experiences weren’t limited to preserving moving image and sound media, but included paper-based collections, costumes, and film technology. After graduating I attended the International Federation of Film Archives (FIAF) Film Restoration Summer School hosted by the Cineteca di Bologna and L’Immagine Ritrovata.

ECPN: Are there any particular skills that you feel are important or unique to your discipline?

YD: Digital preservation will continue to be a key area of expertise that’s needed in museums and archives. Preserving the original source material and digitizing content is not enough. There are more resources than ever for strategies and tools for digital preservation, and it’s important to seek them out. Another valuable skill is developing a level of comfort with handling and understanding the unique characteristics of a wide variety of physical analog formats such as film, videotape, audiotape, and grooved media (LP, 78s, lacquer discs, wax cylinders, etc.). Similarly, it’s helpful to have a familiarity with playback devices for these obsolete media formats (equipment like open-reel decks or video decks.) Lastly, metadata can be an unsung hero in media preservation. Often, we’re the first to see or hear a recording in decades, so capturing metadata around the point of transfer is critical. Metadata standards can be a rabbit hole of complexities, especially when it comes to describing audiovisual media, but understanding their application is an essential skill.

Lacquer disc cleaning and transfer workshop at the Instituto de Historia de Cuba in Havana, Cuba [Photo: Yasmin Dessem]

ECPN: What are some of your current projects, research, or interests?

YD: We’re just wrapping up digitization of materials from the Golden State Mutual Life Insurance Company (GSM), an African American-owned and operated insurance firm established in Los Angeles in 1925 in response to discriminatory practices that restricted the ability of African American residents to purchase insurance. GSM operated for 85 years and their collection is a vibrant resource documenting Los Angeles and the empowerment of a community. We received grants from the National Film Preservation Foundation and the John Randolph Haynes and Dora Haynes Foundation to support this work. The digitized collection is now available on Calisphere. We’ve just started a crowd sourcing project working with former GSM staffers to describe any unidentified content. It’s been one of the most rewarding experiences of my career, hearing everyone’s stories and seeing how much it means to everyone involved to have this collection preserved and made available.

We’ve also been in preparation to launch a large-scale survey that will help us gather data on the Library’s audiovisual collections that can be used for long term-planning. Outside of UCLA, we’ve been involved with ongoing work with cultural heritage institutions in Cuba. Last February, I set up equipment and held a workshop on the digitization of radio transcription discs held at the Instituto de Historia de Cuba (IHC) in Havana. I’m heading back there next week to begin a project to transfer IHC’s open reel audio collections.

ECPN: In your opinion, what is an important research area or need in your specialization?

YD: It’s crucial to preserve the expertise related to the operation and repair of playback equipment. Playback equipment will become more and more difficult to source in the future. Engineers, whose entire careers are dedicated to the use and care of this equipment, are some of the best resources for this knowledge. Their knowledge is shared through conversation, YouTube videos, social media, and professional workshops. Documenting the skills required to handle, maintain, calibrate, and service this equipment in a more formalized way and sharing that knowledge widely will ensure that the preservationists can keep their equipment viable for longer.

ECPN: Do you have any advice for prospective emerging conservators who would like to pursue this specialization?

YD: Try everything. Media preservation requires a wide variety of skills from computer coding to soldering decades-old circuit boards. Depending on where your career takes you, it’s good to have at least a passing familiarity with the full range of skills you may need to call upon. Apply for internships or fellowships with organizations, like the National Digital Stewardship Residency. Volunteer at community-based archives that need help getting their collections in order. Join professional organizations, like the Association of Recorded Sound Collections (ARSC) or the Association of Moving Image Archivists. Attend conferences like code4lib, the Preservation and Archiving Special Interest Group (PASIG), or the Digital Asset Symposium (DAS). Network with engineers or preservation professionals to continue to grow your own expertise, but also share your own skills when you can. Collaboration and knowledge-sharing are a fundamental part of the profession.

Perforation repair of 16 mm film [Photo: Yasmin Dessem]

ECPN: Please share any last thoughts or reflections.

YD: One thing to be aware of, if you’re a woman in the field of audiovisual preservation, is that you may occasionally run into people who are surprised to see a woman working with technology (much less wielding a screwdriver!). This response persists to some degree despite the presence of many successful female professionals in the field. What’s encouraging, however, is seeing the growth of groups like the Women in Recorded Sound collective at ARSC providing support.

Audiovisual preservation is such a gratifying profession. Having the opportunity to make historic content available is incredibly meaningful work that I feel lucky to be a part of everyday. On an even more basic level, figuring out a new workflow or getting a piece of equipment to finally work is just so viscerally satisfying. I’m part of an amazing team whose passion, humor and willingness to try out new things inspires me every day and makes me feel so lucky to be doing this work.

ECPN Interviews: Electronic Media Conservation with Alexandra Nichols

To promote awareness and a clearer understanding of different pathways into specializations that require particular training, the Emerging Conservation Professionals Network (ECPN) is conducting a series of interviews with conservation professionals in these specialties. We kicked off the series with Chinese and Japanese painting conservation, and now we are focusing on practitioners in AIC’s Electronic Media Group (EMG). These conservators work with time-based media, which can include moving components, performance, light or sound elements, film and video, analog or born-digital materials. We’ve asked our interviewees to share some thoughts about their career paths, which we hope will inspire new conservation professionals and provide valuable insight into these areas of our professional field.

In our first EMG interview, we spoke with Nick Kaplan. Now for our second interview from the EMG series, we turn to with Alexandra Nichols, currently a Sherman Fairchild Foundation Fellow in the conservation of time-based media and installation art at The Metropolitan Museum of Art. From 2016-2017, she was a Samuel H. Kress Foundation Fellow in Time-based Media Conservation at the Solomon R. Guggenheim Museum. She earned her Master’s of Art Conservation from the Winterthur/University of Delaware Program in Art Conservation (2016) where she concentrated on the conservation of modern and contemporary objects.

ECPN: Please tell us a little bit about yourself.

Alexandra Nichols (AN): I received my Master’s of Conservation from Winterthur/University of Delaware Program in Art Conservation in 2016, where I concentrated on the conservation of modern and contemporary objects. I recently completed a one-year fellowship as a Samuel H. Kress Foundation Fellow in Time-based Media Conservation at the Solomon R. Guggenheim Museum, where I was working under Joanna Phillips, the Guggenheim’s Senior Conservator of Time-based Media. Just a few weeks ago, I joined the Metropolitan Museum of Art as a Sherman Fairchild Foundation Conservation Fellow, where I’ll be working with the Met’s collection of time-based media and installation art.

ECPN: How were you first introduced to conservation, and why did you decide to pursue conservation?

AN: After obtaining my undergraduate degree in art history, I moved to London and landed a job as an executive assistant at the British Museum. While there, I visited the Hirayama Studio, the British Museum’s conservation lab dedicated to the care and treatment of East Asian paintings and works on paper. It’s a beautiful, peaceful room, with tatami mats and walls lined with brushes and different types of paper. I loved how the conservators could develop such a close, tactile relationship with the artworks, and how the treatments were carried out with respect for the cultures that created the works. This led me to seek out internships where I could gain experience in conservation.

ECPN: Of all specializations, what contributed to your decision to pursue electronic or time-based media conservation?

AN: I’m really fascinated by the wide range of materials and methods utilized by contemporary artists. Something I love about time-based media art is its complexity and variability. An artwork may have multiple channels of video, require a very specific placement in the gallery, or be shown differently based on the size or shape of the room.

My training is in objects conservation, focusing on the conservation of contemporary art. During the course of my graduate studies, none of the North American programs offered coursework in time-based media*. Thus, I was able to explore working with time-based media during my graduate internships at the Hirshhorn and the Museum of Modern Art. I’ve been pleasantly surprised that many of the time-based media pieces I’ve worked on incorporate sculptural elements, so my graduate training has been helpful in ways I didn’t expect. Learning how these objects should be placed in an installation and their relationship to electronic and audiovisual elements is really intriguing.

*The Institute of Fine Arts (IFA) at New York University is implementing a curriculum geared towards the conservation of time-based media, and is accepting applications this this year for Fall 2018 matriculation. http://www.nyu.edu/gsas/dept/fineart/conservation/time-based-media.htm

Alexandra and Contract Video Engineer Maurice Schechter conduct a quality check (QC) on a video file. [Photo: Joanna Phillips]

ECPN: What has been your training pathway? Please list any universities, apprenticeships, technical experience, and any related jobs or hobbies.

AN: I’ve always had an interest in computers and electronics. In middle school and high school, I learned the programming language C, built computers as a hobby, and took courses in video editing and digital photography as part of my undergraduate degree.

I’m originally from the Washington, DC area, and after deciding to pursue conservation, I completed pre-program internships and contracts at various museums in the Smithsonian system, including the Freer and Sackler Galleries, the Museum Conservation Institute, and the National Museum of African-American History and Culture.

In 2013, I began my graduate studies at the Winterthur/University of Delaware Program in Art Conservation, where I specialized in the conservation of modern and contemporary objects. As a graduate student, I completed a summer internship at the Hirshhorn Museum and Sculpture Garden, preparing time-based media works in their collection for the 2014 exhibition Days of Endless Time. During my third-year internship at the Museum of Modern Art in New York, I collaborated with Kate Lewis and Amy Brost to treat a pearlescent bead-adorned cathode ray tube television set by Nam June Paik and Otto Piene.

Additionally, the chance to work with Joanna Phillips at the Guggenheim has been thrilling—there aren’t many opportunities to learn about time-based media conservation in the American graduate conservation programs, so emerging conservators must gain expertise through internships and fellowships. However, this is changing soon — The Institute of Fine Arts (IFA) at New York University is implementing a curriculum geared towards the conservation of time-based media, and is accepting applications this year for Fall 2018 matriculation (link: https://www.nyu.edu/gsas/dept/fineart/conservation/time-based-media.htm). I’ll be utilizing the skills I’ve developed over the past year at my current fellowship working with the time-based media art collection at The Metropolitan Museum of Art.

ECPN: Are there any particular skills that you feel are important or unique to your discipline?

AN: Strong documentation skills are important in any specialization, but this is especially true for time-based media. The inherent variability of time-based media requires extensive research and documentation to ensure that it can be installed correctly in the future. It’s also important to know about the history of video production, including film history and the development of various formats. Foundational knowledge of video and other technologies is also crucial and has to be updated continuously, since technology is always evolving. Without this knowledge, media conservators cannot seek out and engage external specialists and vendors who can provide specific technical expertise

ECPN: What are some of your current projects, research, or interests?

AN: I am just getting started at The Met, but I am currently working with Nora Kennedy and Meredith Reiss to help document the 250 time-based media artworks in The Met’s collection. This includes updating questionnaires that are sent to artists during the acquisition process, which help us learn more about the production history and intended exhibition of the artwork, and researching past exhibitions to create retroactive iteration reports. The Met has had a Time-based Media Working Group for many years now, and I am looking forward to collaborating with its members as I conduct my research.

Image of a Skype interview with an artist, in which Alexandra and Contract Video Engineer Maurice Schechter discuss the audio channels of an artist-provided video file. [Photo: Alexandra Nichols]

ECPN: In your opinion, what is an important research area or need in your specialization?

AN: I think the acquisition and display of virtual reality (VR) will pose a number of challenges for conservators in the coming years. Artists are increasingly experimenting with these types of works—Jordan Wolfson exhibited a VR work in the Whitney Biennial this year, for example—but as far as I know, no museums have acquired a VR piece yet. This technology is so new and is still being developed, and as a result, there’s so much potential for the obsolescence of file formats and hardware.

ECPN: Do you have any advice for prospective emerging conservators who would like to pursue this specialization?

AN: Try playing around with how to shoot and edit your own video in Final Cut Pro or Premiere! It will teach you about digital video formats and give you some insight into the artist’s process. And, don’t be afraid to reach out to conservators you admire to learn more about what they do!

ECPN: Please share any last thoughts or reflections.

AN: Supervised training under established media conservators is essential to the development of one’s skills as an emerging time-based media conservator. Fellowships and internships provide practical experience with real-life museum scenarios that is not possible to gain through readings or coursework. I am extremely grateful to the Samuel H. Kress Foundation and the Sherman Fairchild Foundation for providing me with opportunities to hone my expertise at the Guggenheim and The Met.

*Featured photograph: Alexandra examines a MiniDV tape containing an artwork while working at the Solomon R. Guggenheim Museum. [Photo: Kris Mckay]

AIC’s 39th Annual Meeting – [Session name e.g. General Session], [Date e.g.- June 2], [Talk/event title], [Primary author]

This is a test post for the upcoming annual meeting. Please follow the general format above for the title which will facilitate searching for posts. Also, remember to check off the Annual Meeting category as well as any relevant specialty group categories in the list on the right hand menu. Don’t worry if you forget something – you can always go back in and edit your post to make changes!

Happy blogging,

Rachael Arenstein, AIC e-Editor

Posters from AIC’s 38th Annual Meeting now Online!

Posters presented at the AIC 2010 Annual Meeting are now archived and available for viewing on AIC’s website. If you missed the 2010 conference or just didn’t have a chance to study the posters while you were there – check out the page, read the abstracts and view the posters online. Under the Milwaukee meeting click on show more info and then click on Posters, which will bring you to a list organized alphabetically by author last name. Clicking on a presentation will bring you to the abstract and, if the presentation is available, a link to the file. We are pleased to provide greater access to these interesting and useful projects.

3rd Roundtable on Environmental Guidelines

3rd IIC Roundtable on Environmental Guidelines

“The Plus/Minus Dilemma: The Way Forward in Environmental Guidelines”

Thursday, May 13, 2010, 4:30-6:00 PM

Participants:

Maxwell Anderson, Director/CEO of Indianapolis Museum of Art

Nancy Bell, Head of Conservation Services, National Archives, London, and Principle Investigator of the Environments, Guidelines, Opportunities and Risks (EGOR) Initiative

Karen Colby Stothart, Deputy Director, Exhibitions and Installations, National Gallery of Canada

Cecily Grzywacz, Conservation Scientist, Chair of ASHRAE Committee on Museums, Galleries, Archives and Libraries

Stefan Michalski, Senior Conservation Scientist, Conservation Research, Canadian Conservation Institute

Terry Drayman-Weisser, Director of Conservation and Technical Research, Walters Art Museum

The roundtable opened with an introduction by Jerry Podany who questions the standard RH&T, parameters set long ago that need to be re-examined due to pragmatic needs and concerns for natural resources as new studies move us forward. Museum directors, conservators, scientists and collections professionals are working together to look at new opportunities that will help us maintain and promote more sustainable environments.

Maxwell Anderson then spoke, emphasizing the importance in the dilemma between longevity of cultural heritage, the costs, energy and ultimate carbon footprint involved in maintaining the collections. The consumption of energy and cost to consume the energy have been irrelevant. We need candor and flexibility in the face of reality- we cannot control our climate as we would like to.

Nancy Bell discussed developments in the UK, their initiative for environmental standards and cultural heritage. How would she advise? Catalysts for change: include challenges to conservation, develop research clusters and environmental guidelines. Look at the acceptable levels of damage in our cultural heritage. We need to develop environmental standards.

Karen Colby outlined the environmental guidelines at the National Gallery in Canada over the past 15 years. She stresses flexibility and the potential for less rigid standards in environmental control. In Canada there are remote venues and long distances between venues, seasonal extremes in temperature. Their strategy is to keep the RH between 50 and 44% with a 2-month period of ramping up and down. Special exhibits can be zoned. They circulate their collection with 20 to 25 exhibitions each year so flexibility is needed.

Cecily Crzywacz -analytical chemist for ASHRAE. There is no standard written for temperature and relative humidity, no definite answer to how to use RH&T and how to protect art.

There is a need to modify the historic HVAC systems. Engineers need to be included in the discussions and informed of an interdisciplinary approach. We need to work towards an integrated building design and engineer approach. Object conservators are important for the understanding of a dialogue with directors and administration as they decide how to preserve energy. Don’t compromise your collection to save money. If you purchase an object you are making a long-term commitment to preserve it for the future.

Stephan Michalski discussed an overview of items that are important to environmental change, developments towards saving energy including the new 2011 edition of ASHRAE with a section on museum environmental control, and issues that need careful attention and understanding.

Stephan believes that one of the most important aspects of controlling RH is its function to control mold growth. Cold storage is best to prevent mold growth, though many museums do not choose this.

Choosing relative humidity settings for museum settings is generally easy with fluxes of +/- 10% as acceptable. Temperature is not important – it is mostly for human comfort. In the British Museum the reality is that they couldn’t avoid the range of 40-60%.

The biggest challenge is to choose an appropriate RH for artwork made of mixed materials – with regards to how the materials individually expand and contract. When the materials are mismatched the expansion and contraction causes stress and cleavage.

Terry Weiser brings up the challenge and importance for conservators to evaluate museum climate standards. The climate change conference IIC in London 2008, and the MFA 2010 meeting led to a re-evaluation of new standards with broader RH and T standards, which is good for the global movement of the green standards.

At the Walters they have begun to move set points, use less reactive materials and change to climate controlled vitrines.

Terry is not convinced that the wider RH parameters are ok. She is concerned that in tests we can’t model the reality of what objects have been through and it is premature to assume we know enough about hygroscopic materials. We have to evaluate the damage that happens to art at high RH with regards to dirt accumulation and pest control. Some objects/materials only need mold growth protection.

Many more objects will need microclimates as we replace case control for efficiency in environmental control. This will create more waste, require more energy and materials as we produce (and eventually change and dispose of) more storage and display cases.

Terry stresses, very thoughtfully the need to judiciously use the wider RH parameters and the need for controlled research. She alludes to the strong past trend for strict environmental control, which has now changed. We need to make our next steps as educated, well-informed professionals. Our guidelines form trends that can have strong repercussions.

Sarah Nunberg, The Objects Conservation Studio, LLC, Brooklyn, NY

June 5, 2010

Research and Technical Studies Afternoon Session, May 14, 2010

During the afternoon, Dr. Margaret G. MacDonald, presenting on behalf of her co-author Dr. Barbara H. Berrie, discussed “The effect of metal ions on early stages of curing in linseed oil models”. In an effort to gain a fundamental understanding of pigment-binder interactions, the

authors investigated early stages of paint film curing on the molecular level. The research focused on mechanisms driving these interactions and their effects on long-term behavior. The authors developed a series of experimental paint systems to model the interaction between ethyl linoleate (component of linseed oil) and various metal acetates. These experimental compositions remained soluble following polymerization allowing isolation for analysis. Samples were made under argon gas with varying concentrations of metal acetate. Sample thin films were cast on quartz plates (eliminating issue of oxygen penetration) and monitored using Attenuated total reflection Fourier transform infrared (ATR-FTIR) spectroscopy, ultraviolet-visible spectroscopy (UV-VIS) and fluorescence spectroscopy.

Based on results, the authors show that ethyl linoleate oligomerized films to form new carboxylates, as evidenced by loss of the C=O stretch peak at 1730 cm-1 and the formation of new bands between 1600 – 1500 cm-1. The presence of birefringent spheres with slight fluorescence may reflect a hybrid inorganic-organic framework structure in Pb-ethyl linoleate films. This suggests that there is some crystallinity at these sites and a possibly more thermodynamically stable end product. Further research is needed to delineate these structures and characterize their effects on overall paint film stability.

Dr. Joseph Swider, presenting on behalf of his co-authors Elaine F. Schumacher and Joseph G. Barabe, discussed “TEM as a complementary technique for pigment identification”. Transmission electron microscopy (TEM) can be used in specific instances for pigment identification, where morphological differences on the nano- and atomic scales are critical for pigment differentiation. The technique’s use is limited by the need for samples to withstand substantial heat during analysis. As well, samples must include features of interest that exhibit contrast on the nano-/atomic scale due to differences in thickness, chemistry or crystallinity.

Swider presented a series of case studies where TEM was extremely effective in identifying pigments including analysis of carbonaceous materials, differences between synthetic ultramarine and lapis lazuli, and iron tannate inks. Carbonaceous pigments appear similar on the macro-scale, but can be differentiated using morphological characteristics, which are best imaged using TEM on the nano-/atomic scale. Diffraction and elemental data also provides information that helps to identify specific carbonaceous pigments. Similar nano-/atomic

scale morphological data, obtained using TEM, help to differentiate between synthetic ultramarine and lapis lazuli, as well as TiO2- based pigments. Swider concluded that TEM’s high spatial resolution is helpful for characterizing unknown samples within these pigment classes, as well as pigments characterized by small particles. Finally, a web version of the McCrone Atlas of Microscopic Particles is available online and free for users.

Dr. Christina Cole presented her dissertation research in a talk titled “The identification of Early Eastern Woodlands quillwork dyes via LC-MS with a different approach to sample collection”. Quillwork objects, executed prior to 1856 and made by Native American groups

living east of the Mississippi River, were analyzed to identify natural dyes used during pre-industrial production. Literature associated with natural dyes (used during this period and geographic location) is based predominantly on primary source documents with little or no published scientific data.

Cole developed a method using a sample paper (1 mm x 1mm) swab to collect dye samples. This technique absorbs dyes in situ and dye samples measure approximately five nanograms. Cole tested the technique’s efficacy for liquid chromatography mass spectrometry (LC-MS) using prepared experimental dye samples. This technique is low-cost, low-tech and able to achieve fine sensitivity during analysis. Both unmordanted and mordanted dyes can be analyzed using this method.

Artifacts from five collections (Mashantucket Pequot, McCord Museum, NMAI, Peabody Museum, Harvard, UPenn museum) were screened by curators and Native Americans to ensure that no NAGPRA eligible or cultural sensitive objects were included in the study, while conservators identified artifacts with stable condition. Based on all these criteria, Cole sampled 53 objects to collect 126 samples from eight colors. Samples were selected to obtain the range of color distribution. All samples were extracted in situ from the quill cuticle.

Interpretation of analytical results identified a number of trends. Vulpinic acid, associated with moss found only in California, was identified on objects made dating to 1720 – 1750. These results suggest the presence of an early and extensive trade network between the Great Lakes region and California. Green quillwork was produced using a mixture of dyes, as no green dye materials were identified. Generally, green was produced using a mixture of blue and yellow, or, were the result of over-dyeing. Overall, there was limited use of European dyes. When used, European dyes were always associated with indigenous ones. There appears to be no trends in overall dye use, as a function of time. A number of previously unknown dye materials were identified, including a red dye associated with brazilwood, a wood limited to Brazilian rain forests. Further research is needed to delineate the trading network that resulted in access to the brazilwood material used during dyeing. Possible sources include trade of raw/unmodified brazilwood, recycling of brazilwood dyes preserved in traded blankets or reuse of exported brazilwood objects.

Research and Technical Studies Morning Session, May 14 2010, Part Two

Season Tse presented a talk entitled “Microfade testing: 19th century iron gall inks” on behalf of her co-authors Sherry Guild, Valeria Orlandini and Maria Trojan-Bedynski. Tse started with a summary of the use of microfade testers (MFT) at the Canadian Conservation Institute (CCI), which began in 2005, then discussed MDT analysis of the effects of typical aqueous treatments used to reduce iron gall ink light sensitivity. This work was conducted in collaboration with the University of Winnipeg, where hyperspectral imaging of each sample was completed.

This research was initiated by a request to conserve a handwritten dedication by Queen Victoria to the Library of Canada, dating to 1864. The dedication is preserved in a book currently in the collections of the Library of Canada. The dedication, made using iron gall ink, was analyzed using MDT instrumentation near the signature to measure the signature inks, other text inks and the paper substrate. Most inks, including the signature, are characterized as blue wool (BW) 2-3, or, have high sensitivity. Areas around the text do not show bad fading, and overall, the color shift of samples appears consistent. Distinct patterns in color shift associated with sampled inks were identified that may provide information regarding possible ink mixtures and application methods.

In an effort to test the efficacy of aqueous treatment effects (alkaline water wash, Ca-/Mg-bicarbonate, ethanol + simmering, ethanol + phytate) on iron gall inks, experimental samples were treated and analyzed with MFT instrumentation; then heat and light aged after treatment and analyzed again. Generally, bicarbonate and simmering treatments have similar fading patterns, while phytate treatments had the least light sensitivity and very little change in spectral curves.

Future work at CCI will include using portable MFT instrumentation with color monitoring for onsite use and correlating collected data with the CCI Light Damage Calculator. Developed by Stefan Michalski and soon to be included on the CCI website, this tool allows the user to input data to determine JND using a variety of criteria including the presence/absence of UV. The light damage calculator enables users to make informed decisions during exhibition and curation activities.

Bruce Ford, on behalf of his co-author Nicki Smith, discussed “Exhibition lighting decisions and micro-fading at the National Museum of Australia”, as they have been developed at this social history museum. Initially, the museum utilized light exposure guidelines as delineated by Victoria and Albert Museum publications. However, these guidelines became problematic and expensive to execute during typical museum practice. The V&A guidelines included little delineation between material groups and required that exhibition artifact rotate off-exhibit every two years. New light exposure guidelines were needed and critical, as artifact display frequency at the National Museum of Australia is related to both significance (aesthetic/artistic, historic, scientific, etc.) and expected future display history.

The authors purchased and modified a commercial instrument by adding an x/y stage to eliminate/minimize the effect of material expansion coefficients that can influence color changes. Based on MDT results, the authors developed a two-tier lighting framework that identified materials that fade quickly. All object materials were allocated to new fading rate categories to develop material specific lighting strategies. As a result, significant artifacts, previously thought to be too sensitive to be exhibited, are now on exhibit including Phar Lap’s heart, a famous racehorse that raced during the early 20th century. Furthermore, the authors were able to identify and select sensitive dye/pigment compositions.

Ford concluded that users must always be cautious during interpretation of MDT results and should always report measurement in terms of blue wool ranges. Conservation initiatives should not be motivated purely by financial considerations. The accuracy of data and interpretation is critical to maintain conservation authority, particularly since artifact significance is a matter of opinion and is time dependent.

Following the morning of MFT talks, all authors, who spoke during morning session, discussed the technique and answered audience questions. Issues of terminology and how various values are calculated were discussed, as well as MDT curve interpretation. Finally, authors discussed possible future research projects including the need to calibrate experimental results to the real world context of museum objects exhibited using gallery lighting. This research will only be achievable with longitudinal study (10 years).

The Plus/Minus Dilemia – participate in the dicussion on the IIC News blog

The IIC has set up a discussion blog for ‘The Plus/Minus Dilemma: The Way Forward in Environmental Guidelines’ which was held in conjunction with programs at the American Institute for Conservation’s (AIC) 38th Annual Meeting, Conservation Contiuum: examining the past, envisioning the future, in Milwaukee, WI.

A transcript of the event will be posted on the IIC News blog once it is released and a video of the roundtable discussion will be posted on Art Babble in the next few weeks.

A highlighted summary is posted on the IIC News blog. We look forward to your contribution to the discussion.