42nd Annual Meeting: BPG Tips Session, May 30, moderated by Emily Rainwater

There were sixteen tips presented by twelve speakers in this session, with a very lively question and comment period at the end.
 

 Tip 1:  ‘Beading: A Japanese technique used to relax laminated paper’ presented by Betsy Palmer Eldridge. 

When two sheets of paper have been pasted together overall, the result is a sheet that is much thicker and stiffer than the two individuals. Ms. Eldridge described her technique of using a string of beads known as ura-suri to soften, relax, and remove cockling from the laminated paper. She forms the beads into a coil, then makes a repeated circular motion with a flat hand. During the Q&A, Rachel Freeman mentioned that marbles or a Japanese printmaking baren work well too.
 

 Tip 2:  ‘Quick and Easy Plexi Paste’ presented by Cher Schneider.

Ms. Schneider developed this method for adhering two pieces of Plexiglas together to make mounts. Step 1: Collect Plexi shavings into a glass container. Step 2: Dissolve first in drops of acetone until it gets milky white, then add drops of toluene until it becomes transparent. Do not stir too much. Step 3: Apply to one side of the joint with a glass stir rod, then attach the other piece. Clear excess with a piece of matboard, then with a swab dampened with toluene. Step 4: Cure for 15-20 hours. Step 5: Clean glass tools by popping the dried Plexi paste right off. She does not recommend trying to re-use dried Plexi paste. During the Q&A, John Baty suggested a bake-out to cure the paste.

Tip 3: ‘Alt Training’ by Beth Doyle.

After struggling with the difficulties of providing care and handling training to temporary and permanent staff and students, Beth Doyle of Duke University Libraries figured out that using social media to make short training videos on specific topics is a great way to reach everyone in a timely manner. The instagram videos are 15 seconds and the youtube videos, such as this one, are 2 minutes. If you want to make your own, she recommends using multiple paths to reach the largest audience, exploiting what each platform has to offer, reusing and recycling clips where possible, accepting that what you have is good enough, and keeping it short.

 Tip 4:  ‘Studio-Lab Weight Sources’ by Stephanie Watkins.

Ms. Watkins reviewed the types of weights that conservators use, with suggestions for how to find or make your own. Because they are by nature heavy, she suggests above all that looking locally or making your own is the most cost-effective, and in the spirit of the meeting, ecologically sound. If you do have to have some weights shipped, she recommends USPS flat weight priority. Items that have been used as weights include magnets, sewing weights, scuba, exercise and fishing weights, car tire balancing weights, glass scraps, paperweights, flat irons, shoe anvils, weights manufactured by conservation suppliers, hand-crafted weights, scrap metal, and heavy items from freecycle. Home-made weight fillings include ball bearings, BB shot, coins, stones, sand, glass, beads and beans. Modifications can include polishing, covering, and adding smooth boards, felts, handles, and fabric. Form follows function, so determine the size and shape needed, then look around to see what is available.
I commented on this tip to add that a friend who sometimes has to travel out of the lab to do conservation work on-site brings empty containers and fills them with water for make-shift weights.
 

Tip 5:  ‘Cling and Release: Silicone Mylar+Japanese Paper+Wheat Starch Paste= A One-Step Hinge for Float Framing’ by Terry Marsh, read by Anisha Gupta.
steps 1-6
This PDF ( TerryMarsh-OneStepHinge ) explains the process.

Tip 6:  ‘Aquazol as a heat-set adhesive’ by Adam Novak.

Mr. Novak presented two quick tips. First, he shared his recipe for heat-set tissue, based on research by Katherine Lechuga, summarized here. He makes a 6% solution of Aquazol 500 in deionized water and brushes it on very thin (2 gram) tengujo paper. After cutting the repair strip, it can be set in place temporarily using the heat of his finger. Then, he places silicone release paper over the repair and sets it with a tacking iron. (When questioned later by Sarah Reidell, he indicated that he did not know the exact temperature used with the tacking iron, but supposed that it is in the range of 150 degrees F.) The repair may look shiny in comparison with surrounding paper. If this is the case, shine can be reduced by brushing on a bit of ethanol.

Tip 7: ‘Using pH strips with filtered water’ by Adam Novak.

The second tip addressed the issue of very different readings with a pH strip and a pH meter when measuring deionized water solutions buffered with calcium hydroxide. This is something that I had noticed in my lab at NYPL, and was glad to hear an explanation. Mr. Novak has discovered that the conductivity is very low in the calcium solutions and that there is not enough ionization to get an accurate reading with the strips. This is only the case with calcium- other buffers have higher conductivity and the strips read more accurately.

Tip 8:  ‘Cellulose Powder’ by Becca Pollak.
IMG_3638
(photo of slide taken by Valerie Faivre)
Ms. Pollack described her technique of spraying cellulose powder with an airbrush to minimize local discoloration on paper, cover foxing, or prepare for inpainting. She sprays the powder directly through stencils and adds pigments for toning if necessary. The basic recipe is below as a starting point, but adjustments may need to be made depending on its moisture sensitivity of an object or the desired effect. She also sprays films on Mylar and allows them to dry for future use. In that case, she sprays a layer of plain methylcellulose first to improve cohesion of the sheet. Ms. Pollak is preparing a tip sheet to be posted soon.
Basic recipe:
  • Approximately 20mL 0.5-1% Methocel A4M (Ms. Pollack reports that Elissa O’Loughlin prefers 1-2% of A15C; and Jim Bernstein prefers a mixture of cellulose ethers or gelatin.)
  • 5-10mL isopropanol
  • 1g of micro-cellulose powder

Tip 9: ‘Applying New Techniques On A Traditional Adhesive For Book Conservation’ by  Marjan Anvari.

Traditional, western conservation training in book and paper conservation centers around the use of wheat starch paste. Ms. Anvari is an Iranian conservator working on middle eastern objects and decided to develop a repair adhesive based on a traditional Iranian adhesive that is also flexible and reversible in water. This adhesive, used by artists and artisans and known as ‘green paste,’  is dark yellow in color and leaves a stain, so Ms. Anvari worked to purify it, and came up with an acceptable recipe. She gave out samples at the end of the session. The paste can also be acquired from Raastak Enterprises, which can be contacted for more information.

Tip 10:  ‘Flattening translucent paper’ by Laura Neufeld.

Ms. Neufeld tested four techniques for flattening thin papers: Mylar flattening, the hard-soft sandwich technique, friction flattening, and edge flattening. A gampi-fibered paper was used for testing. The Mylar flattening technique, featured in the article ‘The conservation of three Whistler prints on Japanese paper’ by Catherine Nicholson, required the paper to be fully wet and gave the paper a slight sheen. The hard-soft sandwich technique, featured in the article ‘Architectural Drawings on Transparent Paper’ by Hildegard Homburger, did not require much moisture and removed severe creases. The sandwich calls for polypropylene fleece., but Ms. Neufeld found that this can be substituted with polyethylene fleece or Gore-Tex with the fuzzy side away from the object. Friction flattening, described in the article ‘The Use of Friction Mounting as an Aid to Pressing Works on Paper‘ by Keiko Keyes, can have similar results as using a kari-bari and has been found to work well on both old master and Japanese prints. She found edge flattening to be the most difficult. This slide (Flattening_Slide) shows the results in normal and raking illumination.

Tip 11:  ‘Tek-wipes’ by Gwenanne Edwards.

Tek-wipes, which are used in the computer and custodial industries, were mentioned on the DistList and handed out at last year’s Tip Session, and it seems that the word is out; many people have been discovering uses for them in paper conservation. Ms. Edwards likes to use them for capillary washing, slant washing, suction washing, as a support for lining, for drying and flattening, and in emergency response. She recommends them because they are highly absorbent, strong, reusable, machine-washable, dimensionably-stable, you can vary their saturation, they pull discoloration out well, they are safe with solvents, and they are way cheaper than blotter. They are available from a number of sources under various trade names, such as Texwipe or Technicloth. The overwhelming majority of commenters at the end of the session wanted to talk about Tek-wipes and other blotter replacements. Seth Irwin uses them to pull tidelines from paper using a tacking iron. Betsy Palmer Eldridge suggested that they would work in some of the drying techniques tested by Laura Neufeld (above.) In Australia, they use bamboo felt and interfacing in place of blotters. Bill Minter said that Christine Smith uses bath towels. Anna Friedman uses Sham-wow(warning: this link takes you to the company page with a video commercial).

Tip 12: ‘Rare earth magnets to make solvent chambers’ by  Anne Marigza.
IMG_3651
(photo of slide taken by Valerie Faivre)
Ms. Marigza uses rare earth magnets in a solvent chamber. One on either side of the inverted glass or Mylar container will hold the solvent-saturated blotter (or other absorbent material) in place. The magnet can be discarded when it becomes powdery.

Tip 13.  ‘Flattening Rolled Drawings for Digitization’ by Bill Minter.
IMG_3657
(photo of slide taken by Valerie Faivre)
Mr. Minter developed a method for flattening architectural drawings by reverse-rolling. He places a cardboard tube at the edge of the table with an attached paper extension hanging down to the floor. He places the leading edge of the drawing in the roller, then rolls it the opposite way and lets it sit for a day. When unrolled, it lays flat enough for digitization.

Tip 14: ‘Velcro for Phase-Boxes’ by Bill Minter.

Do you find your velcro hooks and loops to be too strongly attached to each other that they do not pull apart easily? Mr. Minter has discovered a less aggressive velcro. Instead of being labelled as such, the only way to distinguish is that the box is marked ‘clear.’ It comes in strips, discs, or rectangles.

Tip 15: ‘Dry-Tearing of Paper for Infills’ by Bill Minter.
(photo of samples taken by Valerie Faivre)
Lay some wire mesh on a flat surface and place the infill paper on top. Run the tip of an awl, needle, or other pointed instrument along the line you want to tear. It will create a perforation that can be dry-torn. McMaster-Carr sells wire mesh different gauges and materials. Above are samples of two sizes.

Tip 16: ‘Toning of Paper’ by Bill Minter.

The Preval sprayer works great for small paper-toning projects. Clean well after use. During the Q&A, we learned: They sell replacement valves if the ones you have get clogged. The glass jars can be saved and reused.

42nd Annual Meeting – Architecture + Objects Joint Session, 29 May, 2014, “Conservation Realities and Challenges: from Auto Regulation to Imposition at Archaeological and Historical Sites in Colombia” by Maria Paula Alvarez

I was drawn to this presentation on account of my background in archaeology. Although I have never had the chance to visit Colombia, I was very interested to hear about the challenges, that Colombian conservators, archaeologists, and other allied professionals encounter in their efforts to preserve their country’s archaeological and historical sites.
Maria Paula Alvarez, Director at the Corporacion Proyecto Patrimonio, presented a number of interesting case studies to illustrate the types of conservation and preservation problems that she and her colleagues face and work on solving. Her examples included assessments, research, testing, and treatments at
1)         archaeological sites, such as:

  • The Archaeological Site of Fuente de Lavapatas, where the conservation issue was stone deterioration. Extensive studies – including the evaluation of the environmental conditions at the site and the geological and physical properties of the affected stone – were conducted to determine the causes of deterioration. As well, testing of treatment materials – including biocides for controlling biodeterioration and consolidants for disintegrated areas – were undertaken.
  • The Archaeological Park of Facatativa, where panels of rock art were deteriorating not only as a result of exposure to the natural environment, but also as a result of exposure to humans. Both biodeterioration and vandalism in the form of graffiti were damaging to the rock art panels. The panels received conservation attention for both problems.

2)         and historical monuments, such as:

  • The Jimenez de Quesada Monument in the city of Bogota, which had been damaged as a result of vandalism in the form of graffiti. The monument received a conservation treatment that included both the removal of the graffiti as well as the application of a coating to protect the monument against future graffiti vandalism.

In all of the cases that she presented, Maria spoke about the effect of the political, social, and economical climate on the sites’ conservation and preservation. She stressed the impact that such climates have on cultural heritage, from the care to the destruction of sites. She explained how various political, social, and economical circumstances have led her and her colleagues to determine goals and procedures for conservation and preservation projects. I found these concepts very powerful. For me, this presentation was a strong reminder of the complexities involved in the preservation of cultural heritage.

42nd Annual Meeting – Opening Reception, May 29, de Young Museum

This year’s opening reception for the 42 Annual Meeting was held at the de Young Museum.  The museum is located in Golden Gate Park, and the venue, surrounding area, and reception did not disappoint.  The museum provided a great place for the conference attendees to meet up with friends and colleagues, meet new professionals in the field and just have fun after a full day at the conference.
Not only was it a great atmosphere for socializing, but the food and drink did not disappoint.  For you foodies out there, the grub at the reception was amazing!  But then that seemed to be the theme of the day with delicious pastries and baked goods offered at both coffee breaks earlier in the day.  Check out some pictures from the reception below.  And a warning…most are of the food, because it was that good!
 

Everyone lines up at the end of the first day of the annual meeting to board buses to the De Young for the opening reception.
Everyone lines up at the end of the first day of the annual meeting to board buses to the De Young for the opening reception.

 
Everyone enjoyed the reception in the main entrance hall of the museum.
Everyone enjoyed the reception in the main entrance hall of the museum.

 

 IMG_1349  IMG_1344

There was sushi as well as a noodle dish served in small take-out containers (very cute!)

Very large bamboo steamers filled with different types of dumplings were set up on some tables.
Very large bamboo steamers filled with different types of dumplings were set up on some tables.

 
A jazz band was on hand to entertain attendees during the event.
A jazz band was on hand to entertain attendees during the event.

 

 IMG_1347 IMG_1348

So much food…cheese, quiche, vegetable paninis, pasta, chicken satay, mash potatoes and a meat station!

This would certainly be a conservation challenge! On display in the area of the reception  were these amazing hats and costumes were part of an exhibit celebrating 40 years of the revue "Beach Blanket Babylon".
This would certainly be a conservation challenge! On display in the area of the reception were these amazing hats and costumes that were part of an exhibit celebrating 40 years of the musical revue “Beach Blanket Babylon”.

 
Fully stocked cash bar.  These guys can make a mean margarita!
Fully stocked cash bar. These guys can make a mean margarita!

 
Just when you thought I couldn't possibly put in another food photo-the dessert bar!
Just when you thought I couldn’t possibly put in another food photo-the dessert bar!

 
This Opening Reception was definitely a great way to kick off #AICSF and I can’t wait for next year’s reception in Miami!

42nd Annual Meeting- Textile Group Session, May 30, 2014 "Blown-Up: Collaborative conservation and sustainable treatment for an inflatable dress" by Chandra Obie

Chandra Obie, textile conservator at the Cincinnati Art Museum, presented her work on the conservation of an Issey Miyake pneumatic dress with inflatable puffy sleeve caps.  The circa 2000 dress had lost its ability to remain inflated with the failure/deterioration of adhesion on the rubber valve sleeve stoppers.  The dress was donated to the museum by Mary Baskett, a collector of Japanese contemporary fashion, who’s costume has been displayed in the 2007 Cincinnati exhibition Where would you wear that? and 2009 at The Textile Museum in DC.  This particular dress presented the unique challenge that Mary had full intention on wearing the dress out in public to special events after treatment.  Therefore,  the treatment methodology combined the collaboration of appeasing a major donor while conserving the original shape of the sleeve.
The dress came with a 4-page care/construction tag displaying that the dress was 42%Nylon, 40%Polyester, and 18%Polyurethane.  The photo oxidation of the urethane caused yellowing and deterioration of adhesion around the valves which prevented the sleeves from remaining inflated.  Chandra further consulted with scientists and conservators via the Conservation distlist before beginning treatment.  Step one involved testing different methods for recreating the inflated sleeve shape.  Initial solutions of creating a cage structure inside the sleeve or using a medical plastic balloon failed due to access and stability of materials.  The re-adhesion of the vinyl inflation valves was attempted with craft glue, silicone, and BEVA, which all failed adhesion.  Step two developed the creation of a sleeve pattern using Stabiltex, a semi-transparent light weight polyester fabric, filled with polystyrene beads and a polyethafoam cap.  The Stabiltex edges were finished using a heated spatula to weld the polyester and prevent fraying, and a double layer was used for strength.  The sleeve was inserted into the cap and carefully placed along the original pattern, while a funnel was used to fill the cap with polystyrene beads.  The inflatable valves were tacked back into place with a few stitches.  After treatment, Mary Baskett wore her Miyake dress out for her birthday party, and was very pleased with the return of the inflatable sleeve shape.  The only noticeable difference while wearing the garment was the tendency for the sleeves to shift forward on her body.
While the treatment was successful, post-talk discussions with other conservators presented the apprehension of long-term stability of the polystyrene beads.

42nd Annual Meeting – Opening Session, 29 May, "Being a Gallery in a Park – balancing Sustainability, Access and Collection Care" by Nicola Walker and Ann French

This talk revolved around the Whitworth Art Gallery, part of the University of Manchester in the UK. I was interested in this talk in particular because I was interested to see the differences between UK and US approaches to sustainability, and to see how sustainability measures against other principles such as access and recommended storage conditions.
One of the central themes of this talk was that “access is central to all of the gallery activities”. This resulted in some interesting decisions, which strike a balance between practical and ideal. One that stuck out to me personally was the presence of an IPM working group which meets weekly, to discuss what needs to be done in order to ensure that events like festivals and those involving food can be pulled off. Their maintenance of a ‘can do’ attitude is inspiring, and ensures that the museum works with it’s surroundings – a park, which families want to be able to visit and enjoy in tandem with the museum.
The process which the museum went through in order to add an addition to the building was also discussed. A few points stood out there, as well:
– A new route was introduced to separate catering delivery from art movement and delivery (which is also related to the IPM working group).
– A green, bio-diverse roof was put into place on part of the building.
– Stores were relocated into a basement, where the environment can be controlled with passive techniques rather than air conditioning.
– Solar panels were added to the roof.
– Daylight was introduced into some galleries.
– A ground source heat pump was installed.
The idea of the green, bio-diverse roof was fascinating. In order to prevent it from drawing unwanted pests into the museum, they worked with entomologists to ensure that they only attracted specific insects – those who don’t want to eat their lovely textile collection. The introduction of daylight into galleries as discussed here formed a funny comparison to another talk given on sustainability and environmental consciousness.
Another aspect to sustainability was also discussed: the development of working patterns which allow the collection to be feasibly managed and kept in the best condition. One of the theories they work under is known as the Pareto 80:20 principle, which says that 80% of results come from 20% of issues, or in this case, 20% of objects. They use this principle to target their work-flow, focusing on the 20% which give the most result and working on the other 80% on a “modular” basis.
This cross of sustainable environment and sustainable work practices extends to the methods they use to package their 2D objects, as well. This category of object is packaged in a way that it can be easily switched from storage to display or vice versa, and the packaging provides a buffering layer that reduces the need for strict environmental control.
I would have loved to hear more about these storage/display procedures, as I think they could be useful for other museums. I’m also curious to have a more specific list of the plants they used in their bio-diverse roof garden, because that too could be useful in other places. Their practices seem to be very widely applicable, and their attitudes towards having a museum that works for the public and within its environment are admirable. I would love to see other museums adopt these approaches, to be environmentally friendly and to sustain the working environment of conservation professionals.

42nd Annual Meeting- Electronic Media Session, May 31, 2014, "The California Audiovisual Preservation Project: A Statewide Collaborative Model to Preserve the State’s Documentary Heritage by Pamela Jean Vadakan"

The California Light and Sound Collection is the product of a collaboration between 75 partner institutions with original recordings of audiovisual content in California. Following a 2007 statewide collection survey that used the University of California’s CALIPR sampling tool, it was discovered that over 1 million recordings were in need of preservation. In 2010, the California Audiovisual Preservation Project (CAVPP) was founded. Recipients of a National Leadership Grant from the Institute of Museum and Library Services (IMLS), the CAVPP uploaded its first video in 2011.
Like previous statewide initiatives within the California Preservation Program, the project is based at the University of California at Berkeley, where Barclay Ogden provides leadership for the project. By repurposing existing staff and existing tools, the project is able to realize a high level of efficiency. Each partner institution is responsible for surveying its own collection with CALIPR, adding its own records to CONTENTdm, and sending its own recordings with metadata to CAVPP. It is anticipated that open-source tool OMEKA will replace CONTENTdm, because the project partners should not be dependent upon costly proprietary software site licenses.
CAVPP adds administrative metadata, confirms the descriptive metadata, and sends content to the vendors. The vendors include MediaPreserve, Scenesavers, and Bay Area Video Coalition. The vendors produce a preservation file, a mezzanine file, and an access file for each item. Moving forward the project will discontinue creating the mezzanine file, because the preservation file is more useful. Two copies of each file are saved to Linear-tape-open (LTO) and one on the Internet Archive’s servers. Storage costs are about five dollars per recording. CAVPP is also responsible for running checksums and checking video quality. Problems have included out of sync audio, shifts in hue or saturation (chrominance), and shifts in value (luminance). The AV Artifact Atlas has proven essential to the quality control process.
It is crucial for a project this large to have a clear scope in terms of both content and format. The criteria for selection include statewide or local significance, unpublished or original source material, and public domain content. The project also encompasses content for which rights have already been acquired. In some cases, “unknown” has been used a placeholder for missing copyright information. The materials are also subject to triage in terms of the original physical format and condition (preservation need). The project is limited to digital conversion. Film-to-film conversion is outside the scope of the project, but it is hoped that project partners can leverage this project to facilitate projects for high-definition video and film-to-film conversion.
The project has already exceeded its original goals. In the first year, CAVPP uploaded 50 recordings. Now the project has grown to 75 institutions and over 1,400 recordings. It is anticipated that there will be over 3,000 recordings by the end of 2014. Future steps include an assessment of who is using the collection and how they are using it. The project also includes outreach workshops scheduled for project partners in 2014 and 2015.

42nd Annual Meeting- Book and Paper Session, May 29, 2014, "The impact of digitization on conservation activities at the Wellcome Library by Gillian Boal"

The Wellcome Library relies on cross-training and written policies to facilitate the increased involvement of non-conservators in the digitization workflow. Gillian Boal explained that the Wellcome Library, the UK’s largest medical library at over 4 million volumes and the public face of one of the world’s largest private charities, aims to digitize its entire holdings. In order to provide free online access to the entire collection, they have to involve a large group of internal and external partners. Some items are scanned in-house, while others are contracted out to the Internet Archive.
The role of the conservators is primarily to ensure safe handling of the original physical items. To that end, they have trained allied professionals to serve as digital preparators, empowered to perform minor conservation procedures. Treatments are divided into two groups: dry and wet. Dry treatment includes removal of paperclips and staples, for example. These dry procedures are often performed outside of a conservation lab by archivists and librarians in many institutional contexts where there are no conservators. Those procedures are an obvious fit for the non-conservators working on the project. Wet procedures include both aqueous and solvent treatments. Wet treatments are more likely to require the skills of conservation personnel with lab equipment.
Complex folded items presented a special challenge that was met with creativity. The presentation included examples where overlapping parts were lifted onto a cushion of Plastazote™ cross-linked polyethylene foam during digitization. Boal pointed out the shadows visible in the scanned documents where overlapping parts were supported by these foam shims. This is important because the customary use of a glass plate to hold materials flat for photography would have added extra stress or new creases in the absence of a cushion. The digital preparators were empowered to use their own judgement to open non-brittle folded items without humidification; such items were held flat under glass for scanning. Other items were photographed without glass, to accommodate three-dimensional paper structures.
The Internet Archive also acted as a preservation partner, re-routing items to conservation as needed. For example, a volume with a torn page was intercepted by the Internet Archive’s assessment process in order to receive treatment by the conservators.
The digitization of collections is primarily about access. To enhance that access, the Wellcome Library developed “the player” as a tool to view a variety of different types of content from the same interface. It enables downloading or embedding a zoomed-in part of a page, in addition to options for high-resolution and low-resolution images. “The player” also functions as a sort of e-reader interface for books, and it responds dynamically to create the appropriate interface for the type of item accessed, including audiovisual files. It supports both bookmarking and embedding content into other webpages. The Wellcome library is offering the digital asset player as an open-source tool through GitHub.
Boal emphasized the role of policies and documentation in ensuring good communication and trust between partners in such a large project. She also showed examples of handling videos that were created for the project. She would like to see the use of videos expanded to help to create a common vocabulary between conservators, allied professionals, and other stakeholders. The responsibility for collection care is not the exclusive territory of the Collection Care Department, so the key to the ongoing digitization process at the Wellcome Library is the distribution of that responsibility to all of the staff (and external contractors) involved in the project, guided by training, planning, and policies.

42nd Annual Meeting – Painting Session, May 30, "A Hangover, Part III: Thomas Couture's Supper After the Masked Ball"

Conservators are often faced with objects that have had extensive past treatments. While undertaken with the best intentions, some treatments have resulted in aesthetically jarring effects and loss of original information embedded in the construction of the work. Fiona Beckett explored these challenges of decision-making within the treatment of Thomas Couture’s Supper After the Masked Ball (1855).
The large painting is a depiction of a scene in the Maison d’Or in Paris following a party in the infamous hangout for artists and writers. The hungover revelers acted as vehicles for Couture’s commentary about the degradation of society’s morals. Although the composition was originally intended for use as a wall paper design, Couture seemed to have a soft-spot for this scene and the finished painted version was kept in his studio as illustrated by its numerous appearances in drawings and depictions of the studio space.

Thomas Couture's Supper After the Masked Ball (1855) Courtesy of the National Gallery of Canada
Thomas Couture’s Supper After the Masked Ball (1855)
Courtesy of the National Gallery of Canada

Supper After the Masked Ball had undergone two linings and at least two cleaning treatments in the past. It had been relegated to storage for the last 90 years because of its problems. While one lining was done with glue paste the second used wax resin resulting in an uneven combination of the two residues on the verso of the canvas. Ms. Beckett described the factors that had to be considered before removal of the lining. Some of the effects from the lining treatments included wax residue stains, shrinkage of the canvas and compression tenting from the glue paste, and flattening caused by the irons. Additionally, Couture’s habit of testing tints of colors on the verso of his paintings was obscured by the lining’s presence. The condition of the lining was such that it had already began to separate fairly easily from the original canvas and it was decided, after determining that it was not appreciably stabilizing the painting, to remove it. After removal, the color tints were indeed visible on the verso of the canvas. Another interesting aspect of Ms. Beckett’s treatment was her use of Gellan Gum to locally moisten and soften the glue residues on the verso prior to mechanical removal with a spatula.
The decision to not re-line Supper After the Masked Ball followed the trend to refrain from re-lining, but was also informed by other factors specific to the painting. The original canvas was in good condition after the lining removal and the previous linings appeared to not have been necessary. The residual glue and wax residues seemed to have added strength to the canvas as well. Lastly, the absence of the lining allowed easy viewing of the brush marks on the verso.
Final steps in the treatment included a spray application of B-72 to the verso, strip lining with Lascaux P110 fabric and BEVA, and building up the face of the stretchers to an even surface with the addition of mat board and a felt-like non-woven polyester.
Supper After the Masked Ball was an excellent case study to illustrate the decision-making processes conservators must use when approaching prior extensive treatments. Ms. Beckett made an astute observation that it is quite easy for us to criticize these past treatments, but we must acknowledge that they were carried out with the intentions to preserve and stabilize using the most advanced technology available at the time. Often it’s the case that these linings and such really did have a positive effect on the preservation of the pictorial surface, although these measures need to sometimes be undone in the present day when we have less invasive and more effective processes available.

42nd Annual Meeting: Emerging Conservation Professionals Network (ECPN) Luncheon, May 29th- Speed Networking and Career Coaching

The Scene: Anyone entering the hotel atrium at the AIC Annual Meeting on Thursday from 12-2 might have confused the pairs of people at numbered tables as a new conservation speed-dating event.  To give members a similar ability to make multiple connections in a limited time, the Emerging Conservation Professionals Network (ECPN) organized a speed-networking event that enabled approximately 100 conservators to meet face-to-face.

The Set-up: Before the networking began and while enjoying a boxed lunch, participants heard from various speakers.

  • Anna Zagorski and Angela Escobar, members of the Communications Group of the Getty Conservation Institute (GCI), spoke on behalf of GCI, the event sponsor.  GCI strives to advance the field of conservation through the creation and dissemination of knowledge to the field and for the field, using a variety of resources.  Information on GCI can be found on the GCI website.
  • Elena Torok and Greta Glaser gave a moving and heartfelt memorial to their WUDPAC classmate of 2013 and fellow emerging professional, Emily Schuetz Stryker, who passed away unexpectedly in February.
  • Stephanie Lussier, the AIC Board liaison to ECPN, gave a brief history of ECPN and lauded its accomplishments thus far, including the webinar series and portfolio symposium from the 2012 Annual AIC meeting.
  • Megan Salazar Walsh, current ECPN Vice Chair and upcoming Chair, also recognized current ECPN officers and liaisons, AIC staff Ruth Seyler and Ryan Winfield, and the specialty groups who contributed to the event.

The Conservators Conversing: In the weeks leading up to the event, participants filled out a questionnaire ranking their preferences of matches and the topics to be discussed.  Each person received a different match for the three 15-minute sessions based on their responses.  At the event the participants were given their matches’ information, as well as a handout on basic career and resume-building advice.  Pairs found one another for each session at designated tables, and soon the room was abuzz with enthusiastic energy from emerging and established conservator alike.  Two established professionals wandering by the event even joined in the fun and provided last-minute guidance.

Reviews:
“This was so much fun! I loved the variety of people I was matched up with. Thanks to all that organized this event for all of your hard work! I found it extremely rewarding.” – Alexandra Nichols
“This was my favorite part of the conference! The mentors I was paired with gave thoughtful and useful advice, and I hope to continue contact with them. Thank you for this opportunity, and I hope that we can continue more events like this in the future.” – Jacinta Johnson
“I met some really wonderful people during this event. Thanks for all your hard work ECPN!” – Amy Hughes
“You guys really outdid yourselves! Thank you for setting up such a fun and helpful event!” – Jackie Keck
Thanks to everyone who participated to make this first networking event a success!
The author would like to dedicate this blogpost to Eliza Spaulding in recognition of her hard work as ECPN Chair through 2012-2013.  Thank you, Eliza.

42nd Annual Meeting – Health & Safety Group Session, May 31st, "Medical Evaluations for Museum and Collection Care Professionals" by Ruth Norton and David Hinkamp

Ruth Norton and David Hinkamp presented “Medical Evaluations for Museum and Collection Care Professionals” at the first Health and Safety Session at AIC.
Ruth Norton started off by discussing a case study of a natural history collection that had been treated with toxic chemicals such as arsenic to deter infestations.  To determine if there were residual chemicals in storage and the ambient environment, a variety of tests were conducted for compounds such as lead, arsenic, mercury, organochlorine, and organophosphate.  The results of the study concluded that most chemicals were below accepted target levels.
The museum instituted written procedures for working in collection areas and handing arsenic-contaminated objects.  Good hygiene practices and the use of personal protective equipment (PPE) were also employed.   Finally, every workroom and storage room was “deep cleaned” annually to mitigate the spread of dust and other airborne contaminants.
Dave Hinkamp, a physician in occupational medicine, followed Ruth’s talk with a discussion on health and safety hazards in collection work, assessing hazards in the workplace, healthcare professionals, information to tell one’s healthcare professional and what steps one can take now.
When approaching health care professionals, tell them about your work duties, materials used (e.g. adhesives, formaldehyde, etc.), and unique aspects of your work.  Concerns that should be discussed include acute episodes such as asthma, personal health issues such as pregnancy, chronic exposure such as long periods of work with possible hazard, and any other health problems.
Two points that really stood out to me:

  1. Identify your work hazards and their effects.
  2. Protect yourself by either eliminating, substituting, controlling, or limiting your exposure to toxic substances.  Employ PPE and don’t eat, drink, or touch your face at your workstation!