AIC’s 44th Annual Meeting – Page 4 – AIC Blog Archives: Conservators Converse

44th Annual Meeting – General Session: Lead by Example, Models to Follow, Track E, May 16, “PRICE: Preparedness and Response in Collections Emergencies,” by Sarah Stauderman

The Smithsonian Institution in Washington, DC has long dealt with collection emergencies. One of the first major disasters in their history was a construction fire that broke out on January 24, 1865 in the Smithsonian Institution Building, lovingly known as the Castle. This fire started between the ceiling and the roof of the main hall when workmen accidentally inserted a stove pipe into the brick lining of the building, instead of into a flue. In another unfortunate twist of fate, Secretary Joseph Henry (1797-1878) had established a winter-time fuel conservation program throughout the building, causing the water-filled fire buckets located in the hallways to freeze in the frigid temperatures. The library and many early collections, including the papers of James Smithson, were largely destroyed.

Fire in Smithsonian Institution Building, by Gardner, Alexander 1821-1882, January 24, 1865, Smithsonian Archives – History Div, 37082 or MAH-37082.

Now, one hundred and fifty years later, colleagues at the Smithsonian Institution have come together to discuss the roles they play in the prevention, preparation, and response to collections-related emergencies. While the Smithsonian currently maintains a robust disaster management program, it focuses primarily on human safety, which no one would argue comes first in any emergency. However, recognizing the need for planning for collections, staff has recently developed a concept for the Institution called PRICE, or Preparation and Response In Collections Emergencies.
The Smithsonian Institution policy on emergencies is encoded in Directives. Two directives that pertain to stewardship for collections in emergencies are: Smithsonian Directive (SD) 109 and SD 600. SD 109 sets requirements at both an institutional- and unit-level for emergency management pans. SD 600 establishes policies and standards for all aspects of collections management, which includes emergency management.
Two recent and notable emergencies sparked this reevaluation of collections emergency preparedness – the collapse of the Garber Facility in 2010 due to the weight of snow on the roof, and an earthquake in the DC region in 2011. Several areas for improvement were identified from these events:

Training for all staff. There is a need to effectively inform staff about proper lifesaving responses to specific emergencies (such as earthquakes), the Incident Command System, and procedures for access to affected facilities.

Training for collection emergency response staff. There is a need for training on safety, related to collection-based hazards, post-damage assessment methods, and salvage techniques for specific media types.

Quality control during installation and inspection of storage furniture.

Design of storage housing and exhibit mounts to minimize damage in the event of a future seismic event.

Collections spaces to tolerate risks, such as and earthquake or flood.

In the context of these recent emergencies, the Smithsonian has been approaching preventive conservation initiatives pan-institutionally. For example:

“Strengthening collections” is listed as part of the Institution’s strategic plan, as is broadening access

Through the National Collections Program (NCP), there are four leadership groups currently addressing collections stewardship: Collections Advisory Committee, Collections Space Committee, Digitization Program Office (DPO), and several media-specific initiatives.

The Collections Emergency Working Group, which formulated the PRICE initiative, brought together collections managers, conservators, physical security specialists, NCP staff, and facilities professionals.

The Collections Emergency Working Group recommended that in the event an emergency involves collections, the Emergency Operation Center and National Collections Program will have the PRICE team of collections responders to assist and activate response and recovery. Since the Smithsonian uses the Incident Command System (ICS) for emergencies, the PRICE team would fit seamlessly into its structure as one of the reporting groups to the incident commander. For more information about ICS in libraries, archives, and museums, check out David Carmichael’s book on the topic.
The PRICE committee structure will be that of six members and a chair. (Samantha Snell joined the NCP in March 2016 as the PRICE chair.) The team will follow the emergency life-cycle of preparedness, response, and recovery, and consists of three concentrations that must be addressed throughout an emergency – policy and procedures, training, and logistics.

PRICE Structure, Powerpoint, S. Stauderman.

Just remember that the PRICE initiative does NOT replace or duplicate emergency command centers (ECCs) or replace unit plans. However, it DOES enable ECCs, synthesize planning efforts, develop capacity, foster Smithsonian sharing, and take as models, the Alliance for Response and Cultural Recovery Center.
This concept is now in its initial implementation phase at the Smithsonian, so stay tuned for more exciting news about this initiative!

44th Annual Meeting – Paintings Session, 15 May 2016, "The Mellow Pad in layers, colors, and time: investigating the materials and technique of Stuart Davis," by Jessica Ford

For the last talk of the first PSG session, Jessica Ford (Andrew W. Mellon Fellow in paintings conservation, Brooklyn Museum) presented an in-depth look at the technique and legacy of Stuart Davis (1892-1964). This talk is timely considering the renewed interest in Davis – the retrospective Stuart Davis: In Full Swing is currently on view at the Whitney Museum of Art through September 25. A loan request prompted Jessica’s study of The Mellow Pad (1945-51), and a subsequent grant from the Bank of America Conservation Fund supported not only the pre-exhibition treatment, but also a technical study of the painting and some envy-inducing technology upgrades for the BKM conservation department.

Stuart Davis (American, 1892-1964). The Mellow Pad, 1945-1951. Oil on canvas, 26 1/4 x 42 1/8 in. (66.7 x 107 cm). Brooklyn Museum, Bequest of Edith and Milton Lowenthal, 1992.11.6

Davis’s art centers on his interaction with color and space, and was heavily influenced by American jazz. He approached his compositions in the same way jazz musicians of the time approached theirs, often riffing on a past theme to arrive at a new result. The Mellow Pad is a riff on a work he began more than a decade before – 1931’s House and Street. In her talk, Jessica illustrated the work’s origin and evolution, even finding old studio photos that showed previous iterations of the work, manipulating and overlaying them to understand how the layers were built up over the long period that Davis worked on this painting.
Jessica took the non-destructive technical study to new heights with the help of the BoA grant, acquiring for the museum a multi-spectral imaging (MSI) setup, reflectance transformation imaging (RTI) equipment, and a fiber optic reflectance spectroscopy (FORS) system. She also collaborated with Nottingham Trent University to bring optical coherence tomography (OCT) to the museum to elucidate questions of layering in the paint without removing a sample. The graphics showing a moving optical cross-section and the feature where you can essentially fall into the paint layer were especially enthralling to this OCT newbie.
The wax-lined painting in its pre-treatment state had significant interlayer cleavage with resulting lifting, due to interlayer chalk from the artist’s technique, zinc-containing pigments, interlayer dirt from the long period of creation, or unstable binding media – or, more likely, some fearsome combination thereof. Jessica performed an admirable feat of BEVA consolidation, captured in this time-lapse video, which I highly recommend you watch because it’s weirdly satisfying to see an immense consolidation job vanquished in 43 seconds. Another condition concern was the discoloration that seemed to only affect paints that were layered in a certain way – a magenta stripe fading only where layered over a certain type of black. This problem is still under study and Jessica included a call-for-commiseration to anyone who might have seen this phenomenon on another Davis painting.
Davis’s work has gone through cycles of interest, and it’s nice to see it’s on the uptick, though there is still significantly less known about his working method than many other American artists of his era. Jessica’s presentation contributed to the aim of increasing our knowledge of Davis’s technique while simultaneously serving as a reminder that there is a lot left to be learned from this artist. I hope this fascinating study spurs more interesting collaborations among the author, the BKM, and other conservators and art historians studying his work.

44th Annual Meeting – Research and Technical Studies, May 17, "Out of the rain: Uncovering artistic process in Gustave Caillebotte’s 'Paris Street; Rainy Day'"

From 2013 to 2014, Kelly Keegan, John Delaney, and Pablo Garcia from the Art Institute of Chicago closely examined Gustave Caillebotte’s 1877 painting, Paris Street; Rainy Day along with multiple preparatory drawings also in the institute’s collection. Kelly Keegan, the assistant paintings conservator at the Art Institute presented their findings Tuesday at AIC’s annual meeting.
The first important revelation came when x-ray and infrared images revealed that the under-drawing outlining the perspective done by Caillebotte extends passed the tacking margins with no interference from the stretcher bars. This led conservators to believe that Caillebotte originally painted Paris Street; Rainy Day un-stretched and tacked to a wall. Okay, so the painting started off its stretcher, but how exactly was the under-drawing constructed?

Study for “Paris Street; Rainy Day” 1877 — Study for “Paris Street; Rainy Day”
1877

Caillebotte’s preparatory drawing, Study for “Paris Street; Rainy Day” proved to be an invaluable resource for understanding how the final painting was made. Most viewers of 19th century paintings are aware of the connection between impressionism and photography. It was a widely held belief that many painters traced from photographs, but conservators at the Art Institute were skeptical that Paris Street; Rainy Day was based on a photograph. Photography would have caused lens distortion that should have been visible around the perimeter of the drawing but wasn’t. In addition, the paper was very thick which would have made tracing nearly impossible.
Could Caillebotte have projected the city scene onto his paper to create the drawing? A camera obscura is the projection device most well known to art historians and conservators, but this too would have caused lens distortions and bowing edges. Conservators did some digging and eventually discovered the camera lucida. At this point in the lecture, Kelly Keegan played us a video of Pable Garcia, the Assistant Professor of Contemporary Practices at the School of the Art Institute of Chicago. The video showed Garcia in Paris standing in the exact intersection Paris Street; Rainy Day was based on. He explained that a camera lucida is made of a small prism connected to a rod that was most likely attached to a portable table. When someone looks through the prism, a ghost image of the scene in front of the view is projected onto the page. Garcia used his own camera lucida to reconstruct Caillebotte’s drawing exactly.

NeoLucida - modern version of a camera lucida — NeoLucida – modern version of a camera lucida

Garcia brought his version back to the lab where he worked with the research team to figure out the next steps in reconstructing this 9-foot wide masterpiece. The painting was about seven times the scale of Caillebotte’s original drawing. Conservators noticed small indentations on the horizon where the vanishing points would be, and pinholes were visible in the infared image denoting where he could have placed tacks. They guessed that Caillebotte probably used calipers or a proportional compass to scale up his drawing. Garcia and the team tacked a large, primed canvas to the wall, and got to work reconstructing Paris Street; Rainy Day from his own drawing.
Kelly Keegan gave a great talk presenting how the team uncovered secrets of impressionist painters and reconstructed Caillebotte’s painting accurately. A much more detailed account of the analysis can be found on the art institute’s website. I also highly recommend checking out Garcia’s website where him and a other professors sell a contemporary version of the cameral lucida which I plan on getting as soon as I submit this blog post.

Joint 44th AIC Annual Meeting and 42nd CAC-ACCR Annual Conference–Workshops, Saturday May 14, 2016, "Identification of East Asian Papers for Conservation" by Nancy Jacobi and Megumi Mizumura

When I saw the “Identification of East Asian Paper for Conservation” workshop, I began to review what I knew about the subject and decided I could benefit from further education on the matter. I signed up for the workshop hoping to become more confident in my understanding of East Asian papers and I was not disappointed. Besides, what is more exciting than dedicating three hours to talking about paper?

Paper sampler given to workshop participants.

The aim of this workshop was to help participants recognize the characteristics that denote paper quality to aid them in selecting good quality East Asian papers that meet conservation standards.
Presentations

Megumi Mizumura, a paper conservator at The British Museum, presented first. In addition to providing historical context for Japanese, Chinese, and Korean papermaking, she went into great detail about the Japanese papermaking process. Mizumura’s presentation illustrated how different steps of the papermaking process may affect paper quality.

Slide from Mizumura's presentation: 'Various Alkalies for Cooking Kozo.' — Slide from Mizumura’s presentation: ‘Various Alkalies for Cooking Kozo.’

She revealed that some papers thought to be of good quality by conservators may actually be poor quality due to changes in fiber furnish and manufacturing processes. The fiber furnish may be a blend of low grade, cheap kozo from Thailand, wood pulp, or other plant fibers. (Thai kozo is the lowest grade kozo because it grows quickly causing the fibers to be less flexible and contain oils that are difficult to remove during the cooking process.) Aggressive chemical steps to quickly cook fibers and bleach pulp are also detrimental to papers, decreasing stability of the fibers after aging. Mizumura highlighted some important details for conservators to be cognizant of when selecting papers:

the source of the kozo fiber–Japan, China, Thailand, or Paraguay
preparation of the fibers–the degree of detail used to separate bark layers when preparing the fibers, hand-beaten or machine-beaten
alkaline cooking processes used to prepare the fibers–wood ash, slaked lime, soda ash, or caustic soda
bleaching processes–no bleaching, natural bleaching with sunlight, or chemical bleaching with chlorine based bleaches or hydrogen peroxide
method of manufacture–handmade or machine made
drying methods–wooden boards, stainless steel plates, or metal rollers
Possible additives–sizing, fillers, dyes

Mizumura’s presentation provided conservators with a foundation for making better informed selections of papers for treatment.

Slide from Mizumura's presentation: 'Factors to Consider When Choosing Japanese Paper.' — Slide from Mizumura’s presentation: ‘Factors to Consider When Choosing Japanese Paper.’

Nancy Jacobi, head of The Japanese Paper Place (http://www.japanesepaperplace.com/), followed Mizumura’s presentation expanding upon Japanese papermaking. She emphasized the beauty of a well made sheet of paper and the endangered nature of the papermaking profession in Japan. Jacobi then discussed the introduction of East Asian papers to the West and their uses by artists and, later, conservators. She shared two recurring degradation issues observed during her work at Cape Dorset, Canada in identifying Japanese papers used for relief prints by the Inuit since the 1950s. Jacobi noted oil stains in the supports caused by oils leaching out of the fibers which is characteristic of Thai kozo. She also observed pervasive, small foxing spots in papers caused by the use of uncoated metal dryers to quickly dry finished sheets of paper. Jacobi’s observations reiterated the dangers of not knowing materials, and manufacturing processes of East Asian papers used for conservation. The changes in paper quality may be a reflection of the pressure on the dwindling number of papermakers to meet high demands for East Asian papers. Takao Moriki, third generation president of the Moriki Paper Company (http://morikipaper.co.jp/), was also present and supported the workshop material with knowledge of the subject gained from personal experience and research of these materials.
Paper Identification Exercise

During the hands-on portion of the workshop, we put our knowledge of East Asian papers and observation skills to the test. Using the sample books received for the workshop, we examined several samples at a time. Jacobi prompted our observations with questions requiring us to differentiate between some of the following characteristics:

quality
fiber furnishes
fiber preparation
cooking or bleaching processes used
drying methods used
handmade or machine made papers
additives

Once we had done our best to distinguish the various characteristics of our samples, we checked our answers against the key provided. The answer key contained a detailed break down of the papers listing the name, the region it was from, fiber furnish with fiber origin and percentages for fiber blends, machine made or handmade, fiber preparation, cooking process, bleaching, drying methods, additives, weight, and original sheet dimensions. The workshop organizers also brought their study collection with many other samples of East Asian papers for us to examine in addition to those in our sample books. Additionally, discussions related to experiences in using East Asian papers were cultivated amongst workshop participants.
Below are images of some of the papers in our sample books that I find really interesting.

5-A Kurotani #4 from Kyoto: handmade, japanese kozo, soda ash cooking, no bleaching, dried on stainless steel sheet. 5-B Okawara from EhimeL handmade, Thai kozo, caustic soda cooking, chlorine bleaching, dried on stainless steel sheets. — 5-A Kurotani #4 from Kyoto handmade with Japanese kozo, not bleached
5-B Okawara from Ehime handmade with Thai kozo, bleached

8-C Kaji Natural from Ehime: Hand made, thai kozo 90% and wood pulp 10%, caustic soda cooking, chlorine bleaching, direct synthetic dye, and stainless steel sheet drying. 8-D Matsuo Kozo from Fukuoka: handmade, japanese kozo, caustic soda cooking, chlorine bleaching, direct synthetic dye, and stainless steel sheet drying. — 8-C Kaji Natural from Ehime handmade with blended fibers and synthetic dye
8-D Matsuo Kozo from Fukuoka handmade with kozo and synthetic dye

3-A Sekishu Mare from Shimane (UNESCO grade): handmade, Japanese kozo, hand beaten, soda ash cooking, no bleaching, dried on wooden boards. 11-C Xuan paper made at Red Star--tan tree and rice straw fiber, grade is special bark made, Mian Lian (thinnest paper thickness) used for caligraphy 11-A Hanji made in Korea with kozo fibers — 3-A Sekishu Mare from Shimane (UNESCO grade) handmade with japanese kozo fibers
11-C Xuan paper made at Red Star with tan tree and rice straw fiber
11-A Hanji made in Korea with kozo fibers

Conclusion

This workshop raises awareness for the necessity of thoroughly understanding the materials used for conservation treatments. The hands-on exercise was a good challenge and essential for learning the characteristics that mark good quality paper. The workshop provided a good foundation and clear direction for conservators to work towards mastering the identification of East Asian papers.
The information I learned through this workshop will be very useful for guiding my decisions when selecting papers in the future. I truly appreciated the organizers’ passion for East Asian papers. It was a pleasure to peruse the additional samples in the study collection while talking about paper with all workshop participants.

44th Annual Meeting – Book and Paper Wiki Session, May 15th

The chairs of the Book and Paper Wiki group, Evan Knight, Katherine Kelly, and Denise Stockman, first spoke about the group and its progress on the wiki up to this point. They stressed how valuable the AIC Meeting wiki sessions have been, as they have allowed the wiki coordinators to touch base with their colleagues at least once a year. The group expressed gratitude for our interest and attendance.
The group has focused on making the wiki more useful and accessible to members of the conservation community. Our wiki is only as good as the engagement of its volunteers, and they recognize that one of their chief roles as coordinators was to reduce any barriers to entry for potential contributors. They pointed specifically to the centralization of instructions within the wiki in the form of the new contributors toolbox, which nicely consolidates hints, guidelines and suggestions.
The Book and Paper Wiki Group also aims to move away from the model of the Paper Conservation Catalog (PCC), and towards a wiki model. They expect to change the structure and tone of the wiki to make it a more collaborative document. Knight, Kelly, and Stockman emphasized this idea of an evolving resource in their first major question to the larger community of conservators: how much do we alter the PCC as the profession moves forward and makes it out-of-date? They expressed a great respect for the PCC and its many knowledgeable authors, and knew that it was a key reference for many in our profession.
The audience had a lively discussion about this question. They hoped, as one might expect in our field, that the PCC should be preserved in its original form, as it remains a useful record of past practice in our profession. Others offered the opinion that the Wiki should be a current document, and that it would be frustrating to find an entry for a particular technique, only to discover that approach had fallen out of practice. Several solutions were proposed that might allow the wiki to be up-to-date, while still keeping the old PCC intact. The first was to offer the PCC as a pdf on the wiki for anyone to download. Another suggestion was to include a section in the wiki on techniques that had been superseded by more effective measures, complete with references to papers that signaled the change in approach.
The other major question the coordinators had for the community concerned standardizing the language of bookbinding and conservation. Several sources for controlled vocabulary were suggested, and there was discussion about whether they could be adapted to suit our purposes. Audience members thought that any reasonable source would do, because what the field needed was a lively discussion about vocabulary, and it was agreed that starting from scratch would be counter-productive. Doing something, in short, was better than doing nothing, and the coordinators concurred.
Ultimately, the wiki is making great progress, but needs more contributors. It is moving away from the model of the various conservation catalogues, and towards a more collaborative model of professional information sharing. The wiki offers us the option to begin to standardize our language within our narrow group, but also the possibility to help standardize the way we communicate within our entire profession. Finally, there are a number of things the chairs would like the larger community to send in if possible, including: links for bibliographic references, book and paper conservation tips (for example from AIC tips sessions), and information on materials and tools.

44th Annual Meeting—Gap Filling for Ceramics Workshop

The Gap Filling for Ceramics workshop brought together conservators from various backgrounds to experiment while learning practical tips from Rachael Perkins Arenstein, Conservator at the Bible Lands Museum, and Elisheva Kamaisky, Head Ceramics Conservator at the Israel Antiquities Authority in Jerusalem. The day passed quickly as the workshop was packed with PowerPoint presentations and hands-on activities with spackles, plaster, epoxy techniques suited to archaeological and fine arts contexts. Like many participants I took the class as an opportunity to learn from others and practice without the pressure of working on a museum object. Having focused on ceramics this year, I am familiar with the materials and techniques discussed, but I found it an opportune chance to break out of my familiar habits, review the properties and different reasons for choosing plaster versus bulked Paraloid B-72, for example, or ways of manipulating Milliput and refining plaster.

Elisheva Kamaisky demonstrating how she uses a balloon attached to the end of a plastic tube to create a backing inside a jug with a small neck and rim, which blocks easy access to the interior.

The program moved through the various stages of the filling process beginning with discussions of how to protect the surrounding surface from ghosting. For porous unglazed surfaces, common in archaeological contexts, Elisheva often uses masking tape or low-tack painter’s tape, pinching around the edges of fills to prevent the infiltration of plaster. Using tape is always evaluated on a case by case basis depending on the stability of the surface and its ability to withstand tape. Elisheva also showed different strategies she uses for backing of plaster fills, such as layering masking tape to conform to the shape of the ceramic, heated wax, and balloons.

My experimental flower pot generously broken and reassembled by Elisheva and Rachael. Here I have used masking tape to protect the edges and build a backing for fills.

Elisheva showing an example of a tinted plaster fill before drying

The class then discussed tips for mixing and refining plaster, such as how to use a rasp appropriately, when to begin shaving down a fill, and when to stop working it and allow it to dry for wiping down and sanding. Rachael talked about different uses for ready-made spackles and their different properties, pros and cons of using Modostuc, Flugger and PolyFilla. She also referred to different uses of Milliput and gave tips for how to refine it with water before it is dry. This I found particularly useful because refining as much as possible while it is still pliable saves an immense amount of time wasted with sanding or grinding excess material afterwards. I also found the discussion of problems related to B-72 fills helpful as Paraloid is not always easy to work with, and can be difficult to compact. At the end of the day I was very glad to have taken the workshop, and could tell that other participants felt the same as it was a great opportunity to discuss strategies, problems and challenges with conservators with a breadth of experience, and other conservators ranging from those in private practice, to museum conservators who brought expertise with other materials such as wood or stone. It was also a fun way to prepare for the conference, reminiscent of being in graduate school, and getting your hands dirty.

44th Annual Meeting – Objects-Wooden Artifacts Session, Monday 16 May 2016, "Decoys X-rayed: What Volume rad tomography and computed tomography contribute to technical study” by Nancy Ravenel

The Shelburne Museum in Vermont is home to a renowned collection of American wildfowl and fish decoys. During renovation of the Dorset House where the decoys are usually on display, Nancy Ravenel, Objects Conservator, had the opportunity to examine some decoys more in depth. In the process, she explored the pros and cons of two type of three-dimensional x-radiography: computed tomography (CT) and volume rad tomosynthesis (VolumeRAD – a GE Healthcare trademark). Since the museum does not have its own radiography capabilities and is located in rural Vermont, there was no access to industrial imaging resources. Instead, Ravenel explored how best to maximize the capabilities from the local medical community through collaboration with the University of Vermont Medical Center.
For this exploration of radiographic techniques, the decoys proved to be excellent patients since they are somewhat simple in construction, yet personalized between makers and specific when used for hunting versus collecting. As an added bonus, they are easy to transport to the medical center. Ravenel used the Barnes swan as a case study while she looked for a maker’s mark at the head / neck joint.

Right side of the Swan decoy, c. 1890 by Samuel Barnes. Formerly in Joel Barber's collection. Samuel Barnes, Swan Decoy, c. 1890 Collection of Shelburne Museum, 1952-192.4 — Right side of the Swan decoy, c. 1890 by Samuel Barnes. Formerly in Joel Barber’s collection.
Samuel Barnes,
Swan Decoy, c. 1890
Collection of Shelburne Museum, 1952-192.4

With the CT scan, Ravenel found that the metal elements cause flares, which can be distracting. Beam hardening on the image was also apparent. Since CT scanning requires specialized equipment, it is harder to schedule causing limited availability. On the other hand, CT data offers 360 degree data with options for viewing in a variety of ways. Examples of CT imaging on two ducks in the Shelburne collection can be viewed here https://youtu.be/FFjRmEat5xE and here https://youtu.be/bH3zEtzKRWs.
In contrast, the VolumeRAD technique captures data with the same equipment as standard radiography offering better accessibility. It also requires less radiation so there is less impact on the image from beam hardening. Cons to the technique include that the data is non-isotropic, the edges are not distinct, and there are fewer options for how the data is viewed. Ravenel also pointed out that it collects data of a short depth, so she has to identify where the imaging should take place, otherwise the results can be fuzzy. This can require some trial and error.

Anterior posterior volume rad image of the joint between the neck and body, Swan decoy, c. 1890 by Samuel Barnes. Formerly in Joel Barber's collection. This image was taken at the University of Vermont Medical Center department of diagnostic radiology was part of a volume rad study of the joint between the neck and body of the decoy in order to locate a maker's mark thought to be within the joint. The technique takes a series of images at set angles, thus avoiding the effect of the fasteners in the joint between the head and neck. The numeral "III" scratched into the joint is easier to see in this technique than it was in a standard posterior-anterior view radiograph. Samuel Barnes, Swan Decoy, c. 1890 Collection of Shelburne Museum, 1952-192.4 — Anterior posterior volume rad image of the joint between the neck and body, Swan decoy, c. 1890 by Samuel Barnes. Formerly in Joel Barber’s collection.
This image was taken at the University of Vermont Medical Center department of diagnostic radiology was part of a volume rad study of the joint between the neck and body of the decoy in order to locate a maker’s mark thought to be within the joint. The technique takes a series of images at set angles, thus avoiding the effect of the fasteners in the joint between the head and neck. The numeral “III” scratched into the joint is easier to see in this technique than it was in a standard posterior-anterior view radiograph.
Samuel Barnes,
Swan Decoy, c. 1890
Collection of Shelburne Museum, 1952-192.4

In the end, Ravenel felt that the VolumeRAD technique shows considerable promise and felt that she was better able to visualize the hollowing bit marks, dowels, and saw marks, which were all more distinct than in the CT scans. VolumeRAD, as a new technique, has considerable room for development and refinement.
An additional note beyond the presentation, there was some follow up discussion on viewing software. Ravenel noted in her presentation that she uses OsiriX, a DICOM viewer, for working with the data once back at the museum. An audience member pointed out that ImageJ is being widely used. Ravenel confirmed that she feels most comfortable with OsiriX and finds it to be more user friendly, while the audience member was quite happy with ImageJ and felt that it had deeper capabilities for the conservation community.
For more images of Shelburne decoys with radiographic images, visit their Flickr page here: https://www.flickr.com/photos/shelburnemuseum/albums/72157650406031226.

Joint 44th AIC Annual Meeting and 42nd CAC-ACCR Annual Conference – Objects Session, May 17th – “Acne Gel for Green Ear Syndrome? A study on copper corrosion stain removal from poly(vinyl chloride)” by Dawn Wallace

This talk, given by Dawn Wallace, caught my eye because it focused on a treatment that I had heard of, but largely amongst doll collectors, not amongst conservators – and I had never had the guts to try it! The use of acne treatments, such as gels containing salicylic acid and benzoil peroxide, to reduce or remove copper staining has really interesting potential, but was not previously well-tested. Dawn treated various PVC dolls (including Barbie!) and completed analysis using pyrolysis GC/MS, XRF, and mass loss/mass attenuation. The results showed that for most gels, there was movement of copper within the stain, although with some there were changes to the plastic makeup. The salicylic acid did remove copper, but showed a slight weight gain rather than a weight loss – pyrolysis GC/MS then confirmed that a residue had indeed been left on the surface. The benzoil peroxide showed significant weight loss, but had its downsides as well.
Although this was a quick talk (15 minutes), I found it very informative and enjoyable. I would have liked to see more visual comparisona of the before and after treatment, as I wonder if the success in removing the stains is enough to make it worth pursuing removal of the residue as an additional treatment. I will be interested in any future research into this treatment!

Joint 44th AIC Annual Meeting and 42nd CAC-ACCR Annual Conference – Research and Technical Studies Session, May 17th – “Ensuring Maximum Impact for Conservation Science” by Marie-Claude Corbeil

Right off the bat, Dr. Corbeil noted that the title of the talk should probably be a question rather than a statement, because nobody has all of the answers, and this talk was not going to be a definitive guide to conservation science. She noted that conservation science still has some issues – it can be very expensive to complete scientific research projects, and thus there is a reliance on government funding, which can be fickle in a number of ways. Through these challenges, Dr. Corbeil’s aim was to show how the CCI operates, raise questions about the efficiency of the approach, and understand how best to ensure maximum impact for conservation science.
The CCI has three main categories of work: research and development, expert services, and knowledge sharing, all of which are interconnected, and which relate to the community that CCI serves. Dr. Corbeil spoke specifically about a number of examples of this work, including dripping paint on works by Alfred Pellan; authentification of works by Jean Paul Riopelle in conjunction with the Getty; fading paint on Rothko murals; and various pesticide surveys of textiles.
Of these cases, the Rothko question had interesting implications. With the Rothko, the institution asked for the analysis to be completed, and result showed the presence of a fugitive pigment. A monitoring program was enacted in response to this. Dr. Corbeil mused on a few topics – was the analysis really necessary, given that many Rothko works have these fugitive pigments? Would the exhibition decision have been different without analysis? Is the monitoring necessary, given that degradation of these fugitive pigments is inevitable?
The pesticide surveys also brought up an interesting chain of discussion, involving the repetition of analysis for different clients. If enough data has already been collected to generate guidelines and predict the results of surveys, is it necessary to continue to analyze separate collections? Dr. Corbeil noted that it has been an inescapable fact that people want to test their own collections, even if previous applicable results are available. This is not necessarily a bad thing, but it also points to the idea that services rendered for one client may be broadly applicable, and that dissemination of results will always be significant.
Dr. Corbeil concluded that the key elements for success involve choosing the right research question, engaging in collaboration, transparency in methodology, and effective dissemination. Within this context, one of her previous statements resonated with me – she stated that results are disseminated “in the traditional way” at CCI. I wonder if there is a benefit to looking into non-traditional routes for the sharing of knowledge, since that is one of the areas Dr. Corbeil indicated was most important for the success of conservation science? I look forward to future discussion of this topic, and the bright future of conservation science as a whole. Keep up the great work, CCI!

44th Annual Meeting – Photographic Materials Session, May 17, "Salvaging Memories: The Recovery of Fire-Damaged Photographs and Lessons Learned in Conservation and Kindness," by Debra Hess Norris

They say a picture is worth a thousand words, but its worth is immeasurable when all other possessions are lost. The efforts of the Winterthur/University of Delaware Program in Art Conservation can be described, therefore, as invaluable. For the past two academic years, Debra Hess Norris and the faculty, staff, and the graduate students of the WUDPAC program have undertaken recovery projects for photographs damaged by fires and floods. In addition to the rigorous course load of the Photographic Materials block at WUDPAC the classes of 2017 and 2018 have added examination, documentation, and treatment of between 240 and 260 photographs, or about 25-35 photographs per student. Their goal was to help people and families who have just survived heartrending disaster.
On Christmas Day in 2014, Ricky and Traci Harris lost their three sons and Ricky’s mother to a devastating house fire. Searching for any way to lessen their grief, friend and WUDPAC PhD candidate, Michael Emmons, sent this image to Ms. Norris via text message:

One of the firefighters had taken the time to collect the fire-damaged photographs and lay them out in the Harris’ garage. Mr. Emmons coordinated with Ms. Norris to have the 260 photographs brought to the Winterthur conservation labs where the first-year graduate students began examining them for treatment. Each individual photograph had a unique variety of damage. By working closely with Mr. Emmons as the Harris family liaison, the students were able to approach treatment with approval and context from the family. The emotional nature of the project was the biggest, but not only, struggle for those involved. Condition concerns ranged from minor planar distortions to an irreversible white haze to the bleeding of inks and dyes. After minimizing the smell of smoke by storing the photographs with zeolite and blotters, students focused on surface cleaning and flattening. The stabilized photographs were then housed in polyester sleeves with zeolite-containing papers to increase the ease of future scanning.
May 24th, 2015 a flash flood hit central Texas with waters reaching 33 feet high in a matter of hours. 30 lives were lost and over 1,000 homes were damaged. As with the Arno floods that formed the theme of AIC’s 2016 Annual Meeting, compassionate volunteers and first responders attempted to salvage photographs and other personal belongings. Local archivists were able to do much in the recovery of the photographs, but 240 of the most severely damaged were sent to Winterthur for their new graduate students. The types of photographs sent ranged from tintypes to digital prints, negatives to photo albums and all suffered severe damage ranging from flaking and delamination to inactive mold. Although there was a wider variation in materials than the fire-damaged photos from the previous year, the primary treatment concerns remained surface cleaning and flattening but also included consolidation, tear mending, and unblocking. Each student was also able to choose one photograph for loss compensation as both an educational exercise and an attempt to make the most severely damaged images more cohesive. In both projects, students progressed from dry to wet cleaning techniques as detailed below and routinely used microscopic examination to assess their progress and analyze different techniques.

Left: Dry Surface Cleaning Techniques, Right: Wet Surface Cleaning Techniques

Different approaches were also needed for fiber-based supports vs. resin-coated supports, again detailed below:

While the educational opportunities of these projects were immense, what I find truly remarkable is the way they inspired and reflected compassion and benevolence both inside and outside the field of conservation. The subject matter clearly resonates with many of us as there was not a dry eye by the end of Ms. Norris’ presentation and the Q&A section was filled with heartwarming remarks and suggestions for how to continue and spread these outreach efforts. Additionally, the public reactions to various press and social media resulted in an inundation of offers for volunteer work, especially for the Harris family. So I would like to end with Ms. Norris’ call to action, “As a profession we must seek ways to share our skills and knowledge broadly, to be a visible presence following unthinkable tragedy, and a known resource for families facing the potential loss of their treasured photographs.”

For details on D4 and its use in photograph conservation, Ms. Norris suggests Shannon Brogdon-Grantham’s abstract entitled “New Approaches to Cleaning Works on Paper and Photographic Materials” from the 2015 Biannual PMG Meeting.