Tag: conservation

Job posting: Chief Conservator – The Field Museum (Chicago, IL, USA)

The Chief Conservator will undertake conservation planning, programming, and implementation. The individual in this position will also be responsible for the management of conservation programs, facilities, and staff, as well as the examination, documentation, and treatment of objects and specimens in the Museum collections. The Chief Conservator will report to and strongly collaborate with the Head of Anthropology Collections and will consult with the appropriate Collections Administrative Teams. The Chief Conservator will initiate and support awareness and fundraising efforts for collection preservation and the Museum mission.
Duties and Responsibilities

  • Spearheads production and implementation of long range collection conservation planning. Develops and implements collections policies and procedures in collaboration with curators, collection managers, and registrars.
  • Surveys collections in collaboration with curators and collection managers to assess the condition of objects and specimens and determine preservation and treatment needs
  • Documents, examines, and performs conservation treatments and procedures on objects and specimens in the collections.
  • Provides conservation guidance to Collections, Exhibits, and other Museum staff to establish, monitor, and maintain proper environmental conditions in storerooms, exhibits, and work areas as well as to prescribe, review, and upgrade methods and materials used for the storage and packing of objects and specimens
  • Coordinates exhibition conservation program. May perform conservation work for incoming, outgoing, and in-house exhibits including conditioning and overseeing installation
  • Assesses, recommends, and provides treatment of objects and specimens for outgoing loans to borrowing institutions for exhibitions and research. Provides guidance on exhibition mounts. May travel as courier to borrowing institutions to condition report and oversee installations and de-installations
  • Prepares conservation funding proposals
  • Performs research leading to improved methods, materials, and procedures for conservation, storage, and exhibit of specimens; disseminates results in publications and oral presentations
  • Participates in professional meetings, workshops, and other activities to keep current in the field of conservation and enhance professional knowledge and skills
  • Conducts tours and public presentations when needed
  • Supervises and manages all conservation staff as well as volunteers, interns, and visitors as required
  • Responsible for managing the daily operation of the conservation laboratories including the organization, maintenance and ordering of equipment and supplies
  • Performs other conservation and collections-related activities as assigned

Qualifications

  • Degree in conservation from a recognized training program with a specialization in objects and ethnographic conservation
  • Demonstrated extensive conservation experience with management and supervisory responsibilities
  • Demonstrated working knowledge and practice of conservation ethics, theory, method, and literature
  • Working knowledge of lab equipment and chemicals
  • Strong manual skills and attention to detail
  • Demonstrated superb organizational skills
  • Proven verbal and written communication skills
  • Conservation grant writing experience
  • Leadership and interpersonal skills
  • Demonstrated ability to work independently and as a member of a team, to enlist the cooperation and involvement of others
  • Demonstrated experience in mentoring conservators, students, and volunteers
  • Demonstrated experience in collection care policy, planning, and implementation
  • Demonstrated experience in resource and project management
  • Skilled in negotiation and resolution of non-routine problems
  • Proven experience with standard digital conservation photography as well as computer proficiency with museum collections databases, Microsoft Word, and Microsoft Excel. Working knowledge of KE EMu highly desirable
  • Experience with natural history collections conservation desirable

Candidates without the requisite experience for Chief Conservator may be considered for a conservation position focusing on ethnographic objects.
To apply to this job online and for more information, visit: www.fieldmuseum.org/about/careers
Although applying via our online application system is preferred, you may also mail your resume and cover letter to:
The Field Museum
Attn: Human Resources
1400 South Lake Shore Drive
Chicago, IL 60605
If you are a qualified individual with a disability or a disabled veteran, you have the right to request reasonable accommodation. Please email us at accessibility@fieldmuseum.org if you are unable or limited in your ability to use or access our online application as a result of your disability.
The Field Museum is an Equal Opportunity Employer.

Job Posting: Paper Conservator – ICA Art Conservation (Cleveland, OH, USA)

Position open until filled.
Full time, Exempt Position (Benefits Eligible)
Position Summary
The Intermuseum Conservation Association (ICA), a regional not-for-profit art conservation center established in 1952 located on the near Westside of Cleveland, just minutes from downtown, is seeking a conservator of paper-based materials to carry out examinations and conservation treatments, and to assist in the preservation planning for the paper-based collections of the ICA’s 40 member institutions as well as varied private and corporate clients.
The Paper Conservator has responsibilities which involve the examination and treatment of artwork at the ICA facility and on site. S/he will participate as necessary in the implementation and oversight of conservation projects which involve coordinating staff and subcontractors. S/he interacts professionally with board and committee members, clients and the general public. S/he agrees to abide by the AIC (American Institute for Conservation of Historic and Artistic Works) Code of Ethics and Guidelines for Practice.
This position reports to the Executive Director of the ICA.
Principal Duties and Responsibilities
Conservation

  • Carry out examinations and conservation treatments on artwork from the collections of private and public institutions, corporations, government agencies and private collectors.
  • Conduct research to determine appropriate interpretation of the object and to support the recommended treatment.
  • Prepare cost and time estimates for conservation projects and preservation assessments. Assemble bids for Request for Proposals (RFPs). Coordinate with Registrar to communicate with clients.
  • Perform on site field work which may involve collections surveys, examination, and treatment.
  • Participate in interdepartmental projects as needed. Act as lead conservator for such projects when appropriate.
  • Supervise conservation support staff (assistants, preparators, interns, volunteers). Manage and oversee subcontractors for commercial and industrial processes involved in treatments, shipping, and installations.
  • Monitor condition of objects in storage and perform appropriate housekeeping of the area.
  • Stay current with theoretical discourse and best practices in the field through literature review and attending presentations, conferences and mid-career training.

Public Outreach

  • Interact professionally with a broad range of clients concerning conservation and preservation projects, both in person and over the phone/email.
  • Prepare documentation for grant applications in which the ICA is included, and review grant applications if requested by the client.
  • Actively participate in the ICA’s educational programs, including teaching classes, giving lectures and leading tours.
  • Participate in board and staff committee work.
  • Assist in interviewing and hiring new staff.
  • Represent the ICA in meetings with potential clients, donors and other professionals.

Qualifications

  • Master’s degree from a recognized training program in conservation or equivalent experience. Experience in treating Asian Art would be desirable.
  • Experience working in the field of conservation either in an institutional or private practice setting. Title and salary will be commensurate with experience.
  • Proficiency in Microsoft Office Suite (Word, Excel, PowerPoint), Adobe Photoshop desirable.
  • Travel to onsite projects in surrounding region required.

Send letter of interest and CV to:
Attn: Andrea Chevalier, Senior Conservator
ICA – Art Conservation
2915 Detroit Avenue
Cleveland, OH  44113, USA
E-mail: achevalier@ica-artconservation.org
For more information, contact Dottie Cooper at ica@ica-artconservation.org.

Fellowship: 2017-2018 Smithsonian Postgraduate/Postdoctoral Fellowships in Conservation of Museum Collections Program (Washington DC, USA)

All applications must be submitted by December 1, 2016
Purpose
This fellowship program is offered by the Smithsonian Institution to provide opportunities for recent graduates of masters programs in art and archaeological conservation or the equivalent or conservation scientists, including those at the postdoctoral level, who wish to conduct research and gain further training in Smithsonian conservation laboratories for conservation of objects in museum collections.
These fellowships are offered through the Smithsonian’s Office of Fellowships and Internships. They are administered under the charter of the Institution, 20 U.S. Code section 41 et seq. Fellowship awards under this program are contingent upon the availability of funds.
This fellowship program is offered by the Smithsonian Institution to provide opportunities for recent graduates of masters programs in art and archaeological conservation or the equivalent or conservation scientists, including those at the postdoctoral level, who wish to conduct research and gain further training in Smithsonian conservation laboratories for conservation of objects in museum collections.
These fellowships are offered through the Smithsonian’s Office of Fellowships and Internships. They are are administered under the charter of the Institution, 20 U.S. Code section 41 et seq. Fellowship awards under this program are contingent upon the availability of funds.
Eligibility

  • Applicants must propose to conduct research in the conservation of objects in museum collections in conservation laboratories at the Smithsonian Institution. Past or current Smithsonian fellowship recipients are eligible to apply for future Smithsonian awards.
  • No employee or contractor of the Smithsonian Institution may hold a Smithsonian fellowship during the time of his/her employment or contract, nor may an award be offered to any person who has been employed by or under contract to the Institution in the previous year, without the prior approval of the Office of Fellowships.
  • Applicants whose native language is not English are expected to have the ability to write and converse fluently in English. All application materials must be presented in English (foreign transcripts may be translated, see below).

How it Works
Postgraduate/Postdoctoral Conservation Fellowships are usually awarded for one year, but applications for shorter periods will be considered with three months being the minimum. In accepting an appointment, the fellow is expected to be in residence at the Smithsonian except for approved absences.
Financial support, in addition to a Smithsonian fellowship, for such purposes as research travel and equipment may be received from other sources, provided that no special demands are made upon the fellow’s time. Permission to receive additional stipend support must be requested in writing from the Office of Fellowships.
Postgraduate/Postdoctoral Conservation Fellows will conduct research and study in conservation laboratories at the Smithsonian Institution. The prospective fellow must first contact the conservator or scientist with whom he or she would like to work and is encouraged to seek direction with crafting an effective proposal. Previously successful proposals have benefited from the proposed mentor’s guidance in navigating the Smithsonian collections. Applicants should consult the Smithsonian Opportunities for Research and Study (SORS) in advance to select a proposed advisor who can assist with accessing facilities and necessary equipment. The amount of support services available to the fellow will be determined by the workload of the department and the policy of the department chairperson and/or unit director. Additional analytical facilities may be available at the Museum Conservation Institute (MCI). Fellows have access to the Smithsonian Institution Libraries with privileges which include borrowing library materials, inter-library loans, document delivery, database searching, and reference assistance.
It is important that applicants consider the following factors carefully when choosing the dates for the proposed fellowship:

  • The schedule of their proposed adviser/host and the availability of required resources.
  • The dates of tenure proposed in the application (and any change of dates if the fellowship is awarded) should be selected in agreement with the proposed principal adviser.
  • In submitting an application for a fellowship at the Institution, the applicant does not incur any obligation to accept the appointment if selected.

Applicants are strongly encouraged to contact staff members (listed below) to help identify potential advisers, determine the feasibility of the proposed research being conducted at the Smithsonian Institution, and the availability of relevant resources such as staff, collections, archives and library materials during the proposed tenure dates. Additional facilities may be available to museum or archives fellows for analytical work at the Museum Conservation Institute (MCI).
Cooper Hewitt, Smithsonian Design Museum
Kira Eng-Wilmot, Senior Textile Conservator, (decorative/applied arts: textiles, paper, three-dimensional objects) +1 212-849-8462; engwilmots@si.edu
Freer and Sackler Galleries
Andrew Hare, Supervisory Conservator, East Asian Painting, (objects, paper, and Asian paintings; and conservation science) +1 202-633-0370; harean@si.edu Special note: Due to museum construction, the Freer and Sackler Galleries are not currently accepting applications for fellowships in this cycle; however they do welcome inquiries from persons interested in developing a project at a future date.
Hirshhorn Museum and Sculpture Garden
Gwynne Ryan, Chief Conservator, (modern materials) +1 202-633- 2728; ryangw@si.ed
Museum Conservation Institute
Carol Grissom, Senior Objects Conservator, +1 301-238-1236, grissomc@si.edu
National Air and Space Museum
Malcolm Collum, Engen Conservation Chair, (objects) +1 703-572-4361; collumm@si.edu
National Museum of African Art
Dana Moffett, Senior Conservator, (objects) +1 202-633-4614; moffettd@si.edu Special note: The National Museum of African Art is not accepting applications for the Smithsonian Conservation fellowships but will have other fellowship opportunities available for the 2017-2018 cycle. More information please contact: moffettd@si.edu
National Museum of American History
Janice Ellis, Senior Paper Conservator, (books and paper) +1 202-633-3623; ellisjs@si.edu
Sunae Park Evans, Senior Costume Conservator, (costumes and textiles) +1 202-633-3629; evanssu@si.edu
Beth Richwine, Senior Objects Conservator, (objects) +1 202-633-3639; richwineb@si.edu
National Museum of Natural History
Catharine Hawks, Natural History Conservator, (natural history and anthropological objects) +1 202-633-0835; hawksc@si.edu
National Portrait Gallery
Lou Molnar, Head of Conservation, (paintings and paper) +1 202-633-5822; molnarl@si.edu
Smithsonian American Art Museum
Tiarna Doherty, Chief of Conservation, (colonial to contemporary paintings, paper, objects, and frames) +1 202-633-5802; dohertyt@si.edu
Smithsonian Institution Archives
Nora Lockshin, Senior Conservator, (archives, books, and paper) +1 202-633-5913; lockshinn@si.edu
HOW TO APPLY
*All applications must be submitted by December 1, 2016
*Notification of decisions will be made no later than April 1, 2017.
General Application Information
All applications should be sent through our SOLAA system.
Once registered and logged in you will need to complete the requested information regarding mailing address, academic history, current university or college etc.
You can find the application for the opportunity under the Office of Fellowships and Internships.
Files you will need to upload
Abstract: An abstract of the proposed research, not more than one page (please upload this in the same file with your Research Proposal).
Research Proposal: The full statement of your research, maximum THREE PAGES typescript. It should be double spaced, excluding all other parts of the application, such as the abstract and bibliography. Do not use type smaller than 12 point font. In preparing your proposal, be sure to provide and address the following:

  • A description of the research you plan to undertake at the Smithsonian Institution, including the methodology to be utilized.
  • The importance of the work, both in relation to the broader discipline and to your own scholarly goals.
  • Justification for conducting your research at the Smithsonian and utilization of research facilities and resources.
  • Identification of the member of the Smithsonian’s research staff who might serve as your principal adviser/host. Also identify potential co-adviser(s) and/or consultant(s), if applicable. The publication, Smithsonian Opportunities for Research and Study (SORS), contains the necessary information on staff research specialties and current departmental interests to help you determine which staff members are best suited to your research needs. Research staff may be named by applicants to serve as principal advisers, co-advisers or consultants. Affiliated research staff may be named as co-advisers or consultants if they will be in residence during at least a portion of the tenure period proposed. You are strongly encouraged to correspond with your proposed adviser(s) as you prepare your proposal.

Budget and Justification: Budget and justification for equipment, supplies, research-related travel costs, and other support required to conduct the research itself (excluding stipend and relocation costs). You are encouraged to discuss potential research costs with your proposed adviser(s) before submitting your application. If the funds required to support the research exceed the maximum research allowance of $4,000, please explain the source of additional funds.
Bibliography: A bibliography of literature relevant to the applicant’s proposed research.
Curriculum Vitae: Curriculum vitae, including previous and current fellowships, grants, and/or awards, and a description of your research interests. If English is not your native language, describe the level of your proficiency in reading, conversing, and writing in English.
Transcripts (unofficial are acceptable): Transcripts (or other materials when transcripts are not issued) from all appropriate institutions are required, except for senior fellowship applications. Applicants for postdoctoral fellowships need only submit graduate transcripts. If transcripts or other materials are not in English, the applicant should provide translations.
References:

  • You will need the names and email addresses of two persons familiar with your work. Please note that all reference letters are considered confidential unless confidentiality has been specifically waived by the referee. Do not list Smithsonian staff members as your referees; they will have the opportunity to review your application after it is submitted.
  • Please provide a copy of your proposal and a copy of Letter to Referee (downloadable pdf) to your referees.
  • All reference letters will be considered confidential and the contents will not be revealed to the applicant unless confidentiality has been specifically waived by the referee. Therefore, please have the reference submit in sufficient time to meet the application deadline.
  • The application, consisting of the proposal, academic records, and two supporting letters, will be reviewed by members of the Smithsonian’s research staff. Applications will be evaluated on the basis of the proposal’s merit, the ability of the applicant to carry out the proposed research and study, and the extent to which the Smithsonian, through its staff members and resources, can contribute to the proposed research.
  • Through the system (SOLAA) you will send an email to these referees so they can provide references through the web.

Selection Criteria:
Applications are evaluated by a Smithsonian Peer Review Committee made up of scholars in appropriate fields. Fellows are selected based on the following:

  • Proposal’s merit
  • Applicant’s ability to carry out the proposed research and study
  • Likelihood that the research could be completed in the requested time
  • Extent to which the Smithsonian, through its research staff members and resources, could contribute to the proposed research.

The Fellowship Program does not discriminate on grounds of race, creed, sex, age, marital status, condition of handicap, or national origin of any applicant.
For more information visit: Fellowships & Internships

Job posting: Conservation Scientist – Canadian Conservation Institute (Ottawa, ON, Canada)

Closing date: 14 October 2016 – 23:59, Pacific Time (more on closing date)
The Canadian Heritage – Canadian Conservation Institute, Ottawa (Ontario)
PC-02
$65,551 to $78,522
Reference number: PCH16J-016678-000153
Selection process number: 16-PCH-EA-CHR-1386
Positions to be filled: 1
Who can apply: Persons residing in Canada and Canadian citizens residing abroad.

APPLY ONLINE

Duties
This position provides research and scientific services to study the chemical and physical properties of historic and artistic objects, with a focus on synthetic polymeric materials, and to ensure the proper care and conservation treatment of such objects. This position develops new, or modifies existing techniques, methodologies or instrumentation pertaining to the conservation, study, scientific examination, and physical and chemical analysis of cultural property through scientific research. This position communicates concepts, ideas and research results through written reports and publications or oral communications.
Intent of the process
A pool of fully or partially qualified candidates resulting from this selection process will be created and may be used to fill the same or similar positions with various linguistic profiles and language requirements (such as English or French essential, bilingual imperative level – BBB/BBB, CBC/CBC or CCC/CCC), various security requirements (reliability, secret) as well as tenures (term, indeterminate) within the department of Canadian Heritage.
Information you must provide: Your résumé.
You must meet all essential qualifications in order to be appointed to the position. Other qualifications may be a deciding factor in choosing the person to be appointed. Some essential and other qualifications will be assessed through your application. It is your responsibility to provide appropriate examples that illustrate how you meet each qualification. Failing to do so could result in your application being rejected.
In order to be considered, your application must clearly explain how you meet the following (essential qualifications):
Education
A master of science or doctorate from a recognized post-secondary institution with specialization in polymer chemistry or another science discipline relevant to the position OR an acceptable combination of education, training and experience. A degree from a post-secondary institution in a science discipline relevant to the position is mandatory.
For more information on degree requeriments, visit Degree Equivalency
Experience

  • Extensive and recent* experience with instrumental methods used to characterize polymers (e.g. Fourier transform infrared spectroscopy (FTIR), pyrolysis-gas chromatography-mass spectrometry, etc.)
  • Extensive and recent* experience in experimental methodology and in instrumental methods of analysis or testing applied to synthetic polymers
  • Extensive and recent experience* in applying scientific procedures, in scientific research and in carrying out bibliographic research

*Extensive and recent experience is defined as follows: at least two years of carrying out the activity as a principal function during the last five years.
If you possess any of the following, your application must also clearly explain how you meet it (other qualifications):
Asset Qualifications
Experience with science as applied to the study of cultural heritage objects or conservation materials.
The following will be applied / assessed at a later date (essential for the job):
Bilingual – Imperative (BBB/BBB)
Please note that unilingual candidates are encouraged to apply as we will be creating a pool of candidates for unilingual positions.
Information on language requirements
Knowledge

  • Knowledge of chemical and physical properties of synthetic polymers
  • Knowledge of industrial manufacturing of synthetic polymers

Abilities and Skills

  • Ability to interpret FTIR spectra
  • Ability to plan, set goals and establish priorities
  • Ability to analyze, synthesize and evaluate information to address complex problems
  • Ability to work as part of a team
  • Ability to communicate effectively in writing
  • Ability to communicate effectively orally

Personal Suitability

  • Client service orientation
  • Focus on results
  • Initiative
  • Innovation

The following may be applied / assessed at a later date (may be needed for the job):

  • Knowledge of the mission and services of the Canadian Conservation Institute
  • Ability to work with a stereo microscope to remove samples or manipulate samples
  • Operational requirements
  • Willingness and ability to work overtime and to adopt flexible work hours as per operational requirements
  • Willingness and ability to work off site nationally and internationally

Conditions of employment
Reliability Status security clearance
Other information
Only jobs.gc.ca online applications will be considered. If accessibility to jobs.gc.ca is unavailable, please email your Cover letter and résumé to Rana Cheaitani by email at rana.cheaitani@canada.ca and indicate the reason why you cannot apply online. Verification/validation of your request will be required before your application is accepted.

  • Reference checks may be sought.
  • A written exam may be administered.
  • An interview may be administered.
  • Please note that asset qualifications may be invoked at any time of the selection process, including the screening stage.
  • Persons are entitled to participate in the appointment process in the official language of their choice.
  • Candidates may be required to meet the asset qualifications or the organizational needs, depending on the requirements of the specific position being staffed.
  • Acknowledgment of receipt of applications will not be sent.
  • You must be prepared to provide the original, or a certified copy, of your educational credentials.

For this selection process, our intention is to communicate with the candidates by email. Candidates who apply to this selection process must include in their application a valid email address and make sure that this address is functional at all times and accepts messages from unknown users (some email systems block these types of email). If you do not wish to receive information by email, it is your responsibility to inform us.
All information obtained throughout the selection process, from the time of application to close of process, will be used to evaluate the candidates.
The Public Service of Canada is committed to building a skilled, diverse workforce reflective of Canadian society. As a result, it promotes employment equity and encourages candidates to indicate voluntarily on their application if they are a woman, an Aboriginal person, a person with a disability or a member of a visible minority group.
The Public Service of Canada is also committed to developing inclusive, barrier-free selection processes and work environments. If contacted in relation to a job opportunity or testing, you should advise the Public Service Commission or the departmental official in a timely fashion of the accommodation measures which must be taken to enable you to be assessed in a fair and equitable manner. Information received relating to accommodation measures will be addressed confidentially.
Preference
Preference will be given to veterans and to Canadian citizens, in that order.
Information on the preference to veterans
Contact information:
Rana Cheaitani, Staffing Assistant, at rana.cheaitani@canada.ca
Natacha Tremblay-Marcoux, Staffing Advisor, at natacha.tremblay-marcoux@canada.ca
For more information visit: Conservation Scientist

Job posting: Textiles Conservator – British Museum (London, UK)

Closing date: Friday 14th October 2016 at 12:00 Noon
Reference: 1589219
Location: London
Salary: £25,872 per annum pro-rata
Contract: Fixed Term: 11 weeks from 9 January 2017 (Full time)

The British Museum has an exciting opportunity for an early-career textile conservator to join the Organic Artefacts Conservation Section for 11 weeks, in a role supported by the Queen Elizabeth Scholarship Trust (QEST). The post holder will work closely with a senior textile conservator to investigate and conserve a rare 8th Century silk embroidery from the Chinese Tang dynasty.
As the Conservator: Textiles (QEST Associated Liveries Apprentice) you will carry out practical conservation treatment on the embroidery, whilst keeping an accurate record of the work undertaken. The successful candidate will also collaborate with staff in the Asia department and with external specialists on the treatment, display and storage of the embroidery and assist with expanding the profile of the Department by participating in Museum outreach programmes.
With a recognised professional qualification in textile conservation, the successful candidate will be IT literate, have a sound understanding of conservation theory and relevant knowledge of Health & Safety. You must also be able to pass a colour vision test.
We are looking for someone who is able to work independently and demonstrate excellent communication skills. In addition to this, the ideal candidate will have an excellent team working ability.
About the British Museum
Founded in 1753, the British Museum’s remarkable collection spans over two million years of human history and culture. With over 6.8 million visitors in 2015, the Museum is the top visitor attraction in the UK, and its world-famous collection includes the Rosetta Stone, the Parthenon sculptures, Egyptian mummies, the Admonitions Scroll, and the Amaravati sculptures.
The Museum adheres to the HMG Baseline Personnel Security Standard (BPSS) requirements for all staff at the British Museum.
The Museum is an equal opportunity employer, supports a diverse workplace and offers a competitive benefits package including:

  • Membership of the civil service pension scheme
  • Free entry to a wide range of museums and exhibitions
  • Participate in private and public Museum activities, including talks by leading curators from around the world and behind-the-scenes opportunities to learn how museums care for and manage their extraordinary collections
  • Generous annual leave allowance
  • Interest-free season ticket loan
  • Child care voucher scheme
  • Professional and personal development opportunities
  • Employee Assistance Program
  • Discounts on food and gift shop purchases
    If you are a positive individual, passionate about the Museum and would like to know more about this exciting opportunity, please follow the “Apply now” link below where you will be directed to complete your application.
    Interviews will be held on either 28 October or 1 November 2016.
    For more information visit: Conservator: Textiles (QEST Associated Liveries Apprentice)

    If you have any queries regarding this role, email us at bm@penna.comor call +44 0845 601 1124. Please quote the job reference number in the subject line of any email and at the beginning of a call.

Internship: 2017-2018 Getty Graduate Internship Program

Getty Graduate Internships are offered in the four programs of the J. Paul Getty Trust—the J. Paul Getty Museum, the Getty Research Institute, the Getty Conservation Institute, and the Getty Foundation, as well as in Getty Publications—to students who intend to pursue careers in fields related to the visual arts. Training and work experience placements are available in areas such as curatorial, education, conservation, research, publications, information management, public programs, and grantmaking.

Please see the list of internship position areas and host departments participating in 2017—2018 (PDF, 8 pp., 81kb).

Eligibility
Internships are open to students of all nationalities. Applicants must be:

  • Students currently enrolled in a graduate program leading to an advanced degree in a field relevant to the internship(s) for which they are applying, or
  • Individuals who have completed a relevant graduate degree on or after January 1, 2014, with postgraduate activities in their field, paid or unpaid.

Terms
Internships are located at the Getty Center in Los Angeles or the Getty Villa in Malibu. All positions are full-time beginning September 11, 2017. Most internships are for eight months, ending May 18, 2018. Conservation internships are twelve months, ending September 7, 2018. Grant amounts are $20,000 for eight months and $30,000 for twelve months. Support for research travel is available for up to $2,500. Graduate Interns are eligible to enroll in the Getty’s health care plan. The grant includes $1,000 towards relocation expenses but housing is not provided. Please note that grant funds may be subject to federal and state taxes and deductions. Additional information about the terms of these grants is available here.
How To Apply
Applicants are required to complete and submit the online Graduate Internship application form (which includes uploading a supplemental application form; Personal Statement; Curriculum Vitae; Transcript(s); and Letters of Recommendation) by 5:00 p.m. (Pacific Standard Time) on December 1, 2016. Materials received after the deadline will result in an incomplete application.
For the best user experience, we strongly recommend use of the Google Chrome browser. You may also use Firefox or Safari. The Internet Explorer (IE) browser is not compatible with our portal.
We cannot accept applications hand-delivered to the Getty Center or those sent by e-mail or fax.
Application Materials
As part of the application, you will need to prepare the following materials:

  • Personal Statement:Your Personal Statement should consist of no more than 500 words (two double-spaced pages) that explains how your Getty internship choices fit with your background and career goals. Include the reasons for your choice of specific departments or programs for an internship. Also describe what you hope to achieve from the experience and what you believe you can contribute.
  • Resume/Curriculum Vitae: Current resumes are required for all applicants. Please limit resumes to five pages.
  • Transcript(s): Transcripts are required for both undergraduate and graduate degrees completed or in progress. Please be aware that you may be requested to submit hardcopies of official transcripts/academic records at a later date in the evaluation process.If you graduated from a school outside of the United States, transcripts may be substituted with proof of completed courses and/or copies of diploma(s). If you are currently enrolled in a graduate program, provide proof of current enrollment (for example, your most recent transcript or academic record). A note concerning multiple transcripts: you may upload each one individually or as a single combined document (strongly preferred).
  • Letters of Recommendation (2): Applicants must have two confidential letters of recommendation submitted directly by their recommenders. Letters must be received no later than 5:00p.m. Pacific Standard Time on December 1, 2016. Typically, the most appropriate recommenders are university faculty members who are able to address your academic performance. Other recommenders may include past or current employers of relevant work who are familiar with your skills and abilities. Recommenders will be automatically contacted via email through the application system.

Begin a New Application
Create or update your account and password, log in, and begin a new application. You may return to your work at any time by visiting the portal at the link above and logging into your account.
Please note that as part of this application you will request that two confidential letters of recommendation be forwarded by your recommenders through the system by December 1, 2016. Recommenders should attach a scanned original letter to the e-mail.
Once you request this information you will be able to monitor your account to confirm that the letters have been submitted.
Please address inquiries to:
Telephone: +1 (310) 440-7320
E-mail: gradinterns@getty.edu
Notification
Due to the large volume of applications received, staff is unable to respond to application-related questions once the deadline has passed. Finalists will be contacted for phone or in-person interviews in March 2017. All applicants will be notified of the Getty Foundation’s decision in April.
For technical assistance, or if you cannot submit an online application, please contact gradinterns@getty.edu. We are available during normal Pacific Standard Time business hours, and will attempt to respond within two business days.

Job Posting: Research Physical Scientist (Proteomics and Mass Spectrometry) / Research Biochemist / Research Chemist – Smithsonian’s Museum Conservation Institute (Suitland, MD, USA)

The Smithsonian’s Museum Conservation Institute (MCI) is seeking a Research Physical Scientist (Proteomics and Mass Spectrometry) / Research Biochemist / Research Chemist to conduct research on works of art or on objects of cultural, historical or scientific value including biological and organic materials. The scientist will develop and apply new approaches to materials analysis using Orbitrap Velos mass spectrometry and /or gas chromatography – mass spectrometry combined with sampling techniques such as pyrolysis, headspace and solid-phase microextraction. It is expected that the candidate will participate in MCI research and technical studies. The successful candidate will have experience in research, professional presentation, and publication.
MCI is a scientific research center of the Smithsonian Institution with the mission to increase and disseminate scientific knowledge that improves preservation and conservation of museum collections and related material, with an emphasis on the collections of the Smithsonian Institution’s museums. For a more detailed description of the MCI’s programs please see www.si.edu/mci.
For a complete application package and instructions please access USAJOBS https://www.usajobs.gov/ and retrieve the announcements:
https://www.usajobs.gov/GetJob/ViewDetails/451547400?share=email 16A-SR-301892-MPA-MCI (MPA means open to current and federal employees)
https://www.usajobs.gov/GetJob/ViewDetails/451547900?share=email 16A-SR-301892-DEU-MCI (DEU means open to all U. S. citizens)
Vacancy closes October 10, 2016
The Smithsonian Institution is an Equal Opportunity Employer.
Must be a U.S. citizen or U.S. National.

44th Annual Meeting- Book and Paper, May 17th, 2016: "A Protocol to Conserve Glazed Paper after a Water Damage." by Celine Allain

This talk was given by Céline Allain of the Bibliothèque nationale de France (BnF), after the lead author, Lucille Dessennes, also of the BnF, was unable to attend the conference.
In 2014, a pipe burst in the BnF, causing damage to 12,000 books, mostly from the 18th and 19th centuries. 360 of these 12,000 items contained coated papers, and when the disaster salvage/freeze drying contractors arrived on the scene, they would not accept books with coated pages for treatment.
The emergency team at the BnF instead had to use 6 freezers at the BnF to freeze-dry the 360 books with coated pages, although 51 of the 360 were too dry to be freeze-dried. Allain spoke to how difficult it was for the emergency team to accurately identify which books had coated pages—whether because the feel and look of the papers can vary or there might only be a few coated papers in a volume— and encouraged the audience to train emergency response teams to recognize coated papers beforehand. The difference is rarely as easy to identify as in the graphic below:

Image from www.inkable.com.au
Image from www.inkable.com.au

A common theme through the talk was the importance of keeping coated papers wet until they can be frozen. Even in the 2-3 hours it took the emergency team to arrive and place books in freezers, a number of books with coated papers had to be frozen “half-dried,” which limited the recovery outcome for these books. Had the books been kept wet and then frozen wet, they would have fared better.
Allain addressed the makeup of coated papers in order to explain why the pages should be kept wet: the coating (a mixture of pigments, binders, and other elements to improve opacity or water resistance) swells in the presence of water, readily attaches to the wet coatings of facing pages, and congeals into a “block” of stuck pages upon drying that cannot be separated without delamination of the paper surface. When the coated papers are still in a wet state, however, the pages can still be separated without loss of content.
The standard treatment for drying coated papers is freeze-drying (see below Further information), as long as there it is not a vacuum-thermal drying procedure. This allows the frozen water to sublimate.
For the 51 books that had been frozen half-dry, however, there were some that had blocked pages that needed to be un-blocked. The authors adapted a number of treatments to the books, including using a Teflon spatula to separate pages while still frozen. 
The authors knew from previous research into the paper industry that the main binding agent in the papers was styrene-butadien latex (LSB in French, SB latex in English), which is soluble in tetrahydrofuran. Because the tetrahydrofuran’s toxicity made it too dangerous for use, Allain and Dessennes consulted the solubility triangle to arrive at a less toxic solvent. Using a mixture of toluene and ethanol (50/50 vol/vol), the conservators were able to attain equivalent solubility parameters and un-stick blocked pages of the affected books. The conservators brushed on the mixture, softening the SB latex, and then used a stiff spatula to separate the pages. The work is done in a fume hood. The authors noted that a large drawback is that the solvent can only be applied to specific areas of blockage and cannot be used on a large area or an entire book because the inks are frequently soluble in the solvent mixture.
Dessennes experimented with using the solvent in a solvent chamber, but speculates that because of the thickness of the block, that the vapors could not penetrate the interstices of the paper. Because of the limitations of the solvent applied as a liquid and in vapor form, Allain and Dessennes have plans to experiment with the solvent used in a low pressure environment.
 
Further information:
“Effet de la lyophilisation sur le comportement mecanique et chimique du papier, du cuir et du parchemin” Flieder, Francoise; Leclerc, Françoise; Chahine, Claire
Carlsen, Soren. “Effects of Freeze drying on Paper,” IADA Preprints, 1999, p. 115-120.
David Tremain on Emergency Drying of Coated Papers http://cool.conservation-us.org/byauth/tremain/coated.html
NEDCC leaflet on Freeze-Drying: https://www.nedcc.org/free-resources/preservation-leaflets/3.-emergency-management/3.12-freezing-and-drying-wet-books-and-records
CCAHA on freeze-drying techniques: http://www.ccaha.org/uploads/media_items/ccaha-freezing-drying-techniques.original.pdf
NARA on efficacy drying techniques: http://www.archives.gov/preservation/conservation/drying-methods-02.html
LOC on drying techniques, what to do if collections get wet: http://www.loc.gov/preservation/emergprep/dry.html

44th Annual Meeting—Book & Paper Session, May 15, “The Challenge of Scale: Treatment of 160 Illuminated Manuscripts for Exhibition,” Debora D. Mayer and Alan Puglia

With a team of 25 conservators, technicians, and interns, the Weissman Preservation Center at Harvard University is responsible for 73 individual repositories. A large-scale preservation program is essential to care for the vast amount of material in their collections, and Debora Mayer began her talk by commenting on the shifting attitudes in conservation to large collections. As the title of her talk had been changed last minute and large-scale treatment of collections is often associated with terms such as “business plans” and “time management” in my mind, I was expecting to hear a talk about compromises, budgets, and efficient treatment alternatives. Talks about these subjects are often impressive in demonstrating how much work can get done in a limited time, but can sometimes be a little sombre as they often remind us how often conservators don’t have the time to do everything we want. Debora’s talk was therefore uplifting and inspiring in describing how her team avoided burnout by working together to complete large amounts of high quality work within a reasonable time frame.

Treatment for over 160 medieval and Renaissance manuscripts with varying issues concerning structure and media stability had to be carried out within a two-year timeframe in preparation for a loan to a multi-venue exhibition. Since visual identification of unstable media using a microscope was insufficient (media that appeared unstable could actually be stable and vice versa), the team at the Weissman Preservation Center concluded that testing had to be done individually. Within the timeframe, it was not feasible to carry out an extensive study of all objects or to consolidate every illuminated leaf; only the ten leaves on either side of the display opening and the first leaf, often handled, would be tested and treatment carried out if necessary. Even so, this meant a staggering 57,000 cm2 of illuminations requiring consolidation. Based on previous treatments, it would take a conservator two to three minutes consolidating every cm2, but Debora pointed out that it was also important to remember the extra time required for handling or treating large items, housing needs, packing, documentation, etc. during time estimates for treatments. A 5,000-hour time estimate was drawn up, with 2,800 hours expected for consolidation. This was equivalent to three conservators working full time on the project for two years. I shuddered trying to imagine being one of three conservators tasked with the responsibility of this enormous project.

To reduce the work-fatigue that three conservators working on the project full time would inevitably experience, ten conservators worked halftime on the project over the two years, using excel spreadsheets to plan and keep track of workflow. With the amount of people working on the project, it was important to maintain uniformity in treatment procedures and judgment. All conservators followed the same protocols (e.g. using the same magnification or tools) to give the appearance that a single person treated the collection. For quality control, one conservator carried out treatment while another assessed to ensure the media was stable and that there was no visual change. Debora explained how the quality of treatment increased when multiple conservators could agree with a procedure and work together to set standards.

I really admired Debora’s emphasis on teamwork and communication—being open minded, ready for sharing observations and extensive discussions, and letting go of egos. Her talk was encouraging, showing that it is possible to get such a large amount of work done within a short timeframe while maintaining positivity and enthusiasm.

AIC 44th Annual Meeting, Book and Paper Session, May 17th, 2016: Post-flood Development of Mass Treatments at the National Library of Florence: The Roots of Library Conservation

Sheila Waters is the widow of Peter Waters, former Conservation Officer and Chief of the Conservation Division at the Library of Congress, and as such she became intimately connected with the conservation world, and more specifically that of library conservation. Ms. Waters’ talk at AIC’s 44th Annual Meeting in Montreal, Quebec, focused on describing how the profession of book conservation originated in the mud of Florence, where the Biblioteca Nazionale Centrale di Firence (BNCF) had been inundated by the flood waters of the Arno River in November 1966.
In November 1966 the Arno River, which runs through the heart of Florence, burst its banks and flooded the BNCF. Books had been stored in the basement in 1944 during World War II and had not been removed. Peter, having a reputation for being an innovative binder after collaborating with Roger Powell on the Book of Kells, was contacted by the British Library’s Howard Nixon, who had been contacted by the director of the BNCF, Dr. Emanuel Casamassima. Told to take two other colleagues and depart for Florence immediately, Peter Waters chose Tony Cains and Dorothy Cumpstey to be his seconds and set up a staging area at the Forte Belvedere for the damaged books.  Below on the map, the location of the BNCF and of Forte Belvedere are circled. The Forte is quite a bit higher in elevation, which explains why it was chosen as an initial staging location.
FLorence
When Peter arrived in Florence, students were still removing muddy and damaged books from the BNCF. At the Forte, he witnessed the extent of the damage: vellum pages had rotted, and the books were defaced with mud and sawdust. Limp vellum bindings had withstood the onslaught of the flood the best, however, an observation that would have a profound impact on conservation.
Tony Cain and Chris Clarkson took over salvage at the Forte, while Don Etherington took over at the BNCF, where Peter decided to stage future cleaning and triage efforts.
Sheila, an accomplished calligrapher and designer, helped Peter develop a triage “card” in both English and Italian that would help those involved in the recovery effort decide what to do. If a book was labeled “Okay,” for example, it could be handled by a student, but a “STOP” sign indicated that it needed treatment by a specialist.
Benches were installed in the main reading room of the BNCF  where books were mended and bound by as many as 30 workers at one time. Starting in September 1967, smaller books began to be rebound in limp vellum, as this binding style was found to be long-lasting, fairly quick to make, and strong.  The workers at the BNCF and the Forte cleaned, deacidified, and resized the paper; took pH measurements; and performed on-the-spot chemical analysis when necessary. Heat-set tissue was derived as a means for mending torn paper. As the years went by and the damaged volumes were treated and rebound, the conservation space at the BNCF was moved downstairs into the basement of the library, and the number of staff grew smaller. Today there are only a few employees, compared to the 30 employed there immediately after the flood.
Peter Waters was called to help Florence in a time of crisis in November 1966, but it is clear 50 years later, in 2016, that the innovations and procedures that he and his team implemented during the response to the Florence Flood have formed the structure of many basic tenets of library conservation.

Sheila’s talk was a condensed version of her book “Waters Rising: Letters from Florence,” published by The Legacy Press, which contains the letters that the spouses exchanged with one another while Peter was in Florence. Julian Waters, one of Sheila and Peter’s sons, accompanied his mother on the podium and read excerpts of Peter’s letters to Sheila since “he sounds like his father.”

In honor of the 50th anniversary of the flood, there will be a symposium at the University of Michigan on November 3-4, 2016. Attendance is free, but registration is required.
 
See below for a few links regarding the Florence Flood.
Peter Waters Obituary, NYTimes 2003
30 Years After the Flood, NYTimes 1997

Florence submerged: the flood of November 4, 1966