45th Annual Meeting – General Session, May 30, “When An Airplane Acts Like A Painting” by Lauren Horelick

The subject of this talk was the treatment of “Flak Bait”, a World War II B26 Marauder at the National Air and Space Museum with an impressive track record – 207 missions with no crew loss, the only remaining B26 from the Normandy landings, with its original paint intact, though a green and grey overpaint had been added when it originally was put on display. The aim of the treatment was to make the aircraft look exactly as it did at the end of the war. This included not only the painted surfaces, but the doped fabric elevators, rudders, and ailerons, which were the main focus of this talk.

The doped fabric sections had historic patches, from repairs made while the aircraft was in use, as well as post-historic tears. Traditionally, doped fabric parts of aircraft are re-covered, rather than repaired, and the art of doing so is maintained by the aircraft maintenance restorers at the NASM. In order to preserve the “patina of use” of the object, this standard approach would not be an option. Lauren opted to explore different treatment options, and opted to look at how known methods from paintings conservation could be applied to this project, as the doped fabric had a lot in common with a painting on canvas. The eventual treatment involved careful facing of the material and removal from the frame, followed by cleaning thoroughly to remove ingrained dirt and mold. This worked largely according to plan, with one issuee when the stabilized fabric was returned to the frame – the repair of a major tear had allowed 0.5% shrinkage over the length of the object, causing significant registration issues. Eventually it was possible to relax the fabric and return the object to an acceptable position on the frame. A resin coating applied over the surface successfully shifted the color from chalky yellow back to the original olive green, addressing another overarching issue of the treatment, maintaining uniformity of appearance over the entire object.

The part of this talk that resonated the most with me was the discussion of conservation versus restoration, especially when restoration practices such as re-covering doped fabric aircraft are “celebrated practices”. Another presenter also made this connection – Davina Jakobi, in her talk on conservation of ship model riggings, quoted Lauren and expressed that she had found the same challenges in deciding to repair rather than re-rig. Navigating these ethical questions can be tricky territory, but when handled with grace as both Lauren and Davina did, can provide great results. Lauren counted the improved collaborative relationship between conservation and restoration as one of the main benefits of this treatment, along with the development of new methods to save an ephemeral material, and I would have to agree.

 

 

 

45th Annual Meeting – Objects Session, June 1, “The 40 Year Old Restoration of Bruce Conner’s CHILD” by Megan Randall

In this talk, Megan Randall, Objects Fellow at the Museum of Modern Art, tells the unique treatment history of Bruce Conner’s Child from 1976 – 2016. Bruce Conner was an artist who worked across media, from collage and sculpture to painting and drawing. Created in 1959, his sculpture Child is a corpse-like figure made of casting wax and shaped by hand. He sits in a high chair and is bandaged with stocking fabric and a belt around his waist, with additional wax painted on the surface. Child was made in response to the execution of Caryl Chessman, which Conner believed to be a social injustice.

Megan structured her discussion to be a timeline of Child’s complex exhibition and treatment history and described the numerous events that resulted in the figure’s condition when she first arrived at MoMA as a fellow in 2015. The sculpture was first exhibited in 1960 and received great attention from the public. It continued to gain exposure at galleries, in Conner’s one-man show, and even in public protests against police brutality and in 1970, was acquired by MoMA. The work was treated in 1976 in which the cheeks and head needed to be stabilized and an arm mended. Then, later that year, it was exhibited at SFMOMA, where Conner was disappointed to see its state significantly worsened. At this point, there had been no direct contact between MoMA and Conner, but he referenced the Geoffrey Clements photograph of how Child was originally positioned. It was clear that the shape of the figure had been badly deformed. The full figure had slumped forward, the mouth was now closed rather than open, and the legs had lowered and were in complete contact with the chair. However, it continued to tour at Hirschhorn Museum in 1988 and then at the Whitney in 1996, where Conner saw it once more and horrified, requested that it immediately be taken off view.

After several correspondences between MoMA and Conner, with the artist’s input on what needed to be adjusted, it was decided that a treatment of Child was necessary. Much of the issues with the positioning of the body was a result of the failing handmade hardware and joints and during an unfortunate turn of events during treatment, the body fell apart. Luckily all the original material was maintained, and the challenge was in terms of its assemblage. Sadly, Conner passed away in 2008.

In 2015, Megan Randall and Associate Objects Conservator at MoMA, Roger Griffith, started the journey to restore the exhausted Child. They began with documentation of the figure including imaging, photogrammetry to observe the three-dimensional positioning, and radiography to get a sense of the joining materials and the thickness of the wax. Child had been a victim of transport, handling, and failing of structural elements between its conception in 1960-2000.e treatment aimed to return the figure and vintage nylon stocking to their original orientation and stabilize the materials, while using images from the archive and Conner’s studio as reference.

Using a Go-Pro to document the process, the conservators carefully disassembled the figure, photographing each individual section and even had a carpenter create a replica of the high chair that Child sat on so that they could build up the figure away from the original nylon and wood. Loose sections were consolidated and the wax that had deformed was readjusted with heat and pressure. The next challenge was to create an armature that would help support the weight of the wax, as this was one of the original causes of the figure’s collapse. After months of testing, Megan and Roger decided to use polycaprolactone (PCL), an orthopedic thermoplastic polyester resin. It suited this project as it is a conformable, adjustable material that can withstand travel and is long lasting. Altraform was added into the armature and 3D Light Mesh was used to support weight from above as well. These materials were also Oddy tested and deemed safe for conservation practice.

After the figure was positioned back together, Megan and Roger had to tackle the vintage nylon stockings. Luckily, most could be repositioned safely, but three pieces needed replacements, for which Roger ordered online and surprisingly, toned with coffee and tea, to obtain the distressed appearance that gave Child its haunting effect. Finally, Child was back in its original orientation and ready to be shown at the Bruce Conner Retrospective at MoMA, and then subsequently, SFMOMA and the Reina Sofia.

After treatment photographs were taken to capture the armature inside each section and several techniques were used for recording its position. Photogrammetry was captured once again to compare future sets for monitoring any potential deformations or movements and radiography was done in order to monitor if the armature moved in the future as well as if the figure shifted in any way. A custom crate was created for safe travel to its next two immediate exhibition spaces and it just returned safely to MoMA, much to the happiness of the conservators. Ultimately, Bruce Conner’s Child has a complicated and extensive history, including it falling apart, but after countless hours of testing and treatment by conservators at MoMA, the figure was returned to its intended appearance and we as visitors had the pleasure of viewing its haunting and delicate beauty.

Job Posting: Assistant/Associate Conservator – Asian Art collection, Metropolitan Museum of Art (New York, NY)

THE METROPOLITAN MUSEUM OF ART EMPLOYMENT OPPORTUNITIES

Assistant/Associate Conservator

The Objects Conservation Department at The Metropolitan Museum of Art upholds the highest professional standards in the conservation of the Museum’s three-dimensional works of art. The Assistant or Associate Conservator will be part of a team responsible for conservation of the Asian Art collection consisting of over 35,000 objects in a wide range of materials, spanning 5,000 years. The Assistant or Associate Conservator’s principal responsibility will be for the metalwork, comprising more than 4,000 objects, mainly of gold, silver, and copper alloys, some from archaeological contexts, and exhibiting a variety of methods of manufacture and decoration. The Assistant or Associate Conservator will collaborate with others on the conservation of objects of mixed media including metals.

This is a full-time permanent position.

Primary Responsibilities and Duties:

  • Undertake conservation of metal objects in the Asian Art collection, including examination, treatment, and oversight of environmental conditions in storerooms and galleries.
  • Examine objects for acquisition, incoming or outgoing loans and gifts.
  • Examine objects concerning material identification and technology, including use of analytical instrumentation such as x-radiography and microscopy.
  • Prepare samples for analysis by the Department of Scientific Research, and communicate with scientists regarding goals and results.
  • Liaise with conservators, curators, technicians, riggers, Buildings staff, Exhibitions staff, and Registrar.
  • Prepare visual and written documentation of treatments and research, and file according to department protocols.
  • Travel domestically and internationally as needed to examine, treat, and courier artworks in connection with loans.
  • Supervise contract conservators, fellows, and students.
  • Assist senior staff in time-sensitive projects as assigned by Conservator in Charge.
  • Participate in departmental fundraising activities.
  • Broaden knowledge of the conservation field by taking advantage of the department’s expertise and resources, and the Museum’s opportunities for professional development.
  • Disseminate activities and findings in a range of platforms including public and professional lectures, and print and digital publications.
  • Other related duties

Requirements and Qualifications:

Experience and Skills:

  • Minimum of five years of professional experience working in a museum required.
  • Experience in the examination and treatment of a wide range of objects required.
  • Expertise in the examination and treatment of metals, including archaeological metals, preferred.
  • Excellent written, verbal, and interpersonal skills required.
  • Skill using state-of-the-art conservation documentation tools, including digital photogaphy, multi-spectral imaging, and Reflectance Transformation Imaging preferred.
  • Ability to lift up to 50 pounds and work on a ladder or rig required.

Knowledge and Education:

  • Master’s degree from an internationally recognized graduate conservation program required.
  • FDNY C-14 Laboratory Certificate of Fitness or willingness and ability to attain certification within six months of hire required.

Please send cover letter, resume, and salary history to careers@metmuseum.org with “Assistant/Associate Conservator” in the subject line.

The Metropolitan Museum of Art provides equal opportunity to all employees and applicants for employment without regard to race, color, religion, creed, sex, sexual orientation, national origin, ancestry, age, mental or physical disability, pregnancy, alienage or citizenship status, marital status or domestic partner status, genetic information, genetic predisposition or carrier status, gender identity, HIV status, military status and any other category protected by law in all employment decisions, including but not limited to recruitment, hiring, compensation, training and apprenticeship, promotion, upgrading, demotion, downgrading, transfer, lay-off and termination, and all other terms and conditions of employment.  AmeriCorps, Peace Corps, and national service alumni encouraged to apply.

Job Posting: Assistant Conservator at the Metropolitan Museum of Art (New York, NY)

THE METROPOLITAN MUSEUM OF ART EMPLOYMENT OPPORTUNITIES

Assistant Conservator

The Objects Conservation Department at The Metropolitan Museum of Art upholds the highest professional standards in the conservation of the Museum’s three-dimensional works of art. The Assistant Conservator will work under the supervision of senior staff on the conservation of objects from the Museum’s encyclopedic collection, spanning 5,000 years and made using a wide range of materials, methods of manufacture. The Assistant Conservator’s assignments will be based on the priority projects of the department as determined by the Conservator in Charge.

This is a full-time permanent position.

Primary Responsibilities and Duties:

  • Undertake conservation of objects, including examination, treatment, and oversight of environmental conditions in storerooms and galleries.
  • Examine objects for acquisition, incoming or outgoing loans and gifts.
  • Examine objects concerning material identification and technology, including use of analytical instrumentation such as x-radiography and microscopy.
  • Prepare samples for analysis by the Department of Scientific Research, and communicate with scientists regarding goals and results.
  • Liaise with conservators, curators, technicians, riggers, Buildings staff, Exhibitions staff, and Registrar.
  • Prepare visual and written documentation of treatments and research, and file according to department protocols.
  • Travel domestically and internationally as needed to examine, treat, and courier artworks in connection with loans.
  • Supervise contract conservators, fellows, and students.
  • Assist senior staff in time-sensitive projects as assigned by Conservator in Charge.
  • Participate in departmental fundraising activities.
  • Broaden knowledge of the conservation field by taking advantage of the department’s expertise and resources, and the Museum’s opportunities for professional development.
  • Disseminate activities and findings in a range of platforms including public and professional lectures, and print and digital publications.
  • Other related duties

 Requirements and Qualifications:

Experience and Skills:

  • Minimum of three years of professional experience working in a museum required.
  • Experience in the examination and treatment of objects made using a wide range of materials, methods of manufacture.
  • Excellent written, verbal, and interpersonal skills required.
  • Skill using state-of-the-art conservation documentation tools, including digital photogaphy, multi-spectral imaging, and Reflectance Transformation Imaging preferred.
  • Ability to lift up to 50 pounds and work on a ladder or rig required.

Knowledge and Education:

  • Master’s degree from an internationally recognized graduate conservation program required.
  • FDNY C-14 Laboratory Certificate of Fitness or willingness and ability to attain certification within six months of hire required.

Please send cover letter, resume, and salary history to careers@metmuseum.org with “Assistant Conservator” in the subject line.

The Metropolitan Museum of Art provides equal opportunity to all employees and applicants for employment without regard to race, color, religion, creed, sex, sexual orientation, national origin, ancestry, age, mental or physical disability, pregnancy, alienage or citizenship status, marital status or domestic partner status, genetic information, genetic predisposition or carrier status, gender identity, HIV status, military status and any other category protected by law in all employment decisions, including but not limited to recruitment, hiring, compensation, training and apprenticeship, promotion, upgrading, demotion, downgrading, transfer, lay-off and termination, and all other terms and conditions of employment.  AmeriCorps, Peace Corps, and national service alumni encouraged to apply.

 

44th Annual Meeting – Objects/Wooden Artifacts Joint Session, May 16th, “A New Understanding of the Aging Characteristics of Asian Lacquer” by Marianne Webb

In this talk, Marianne Webb presented some findings from her ongoing research into the degradation of Asian lacquers.
She produced 11 different samples of lacquer formulated with Urushiol-based lacquer (sourced from Japan, China, and Korea), Laccol-based lacquers (from Vietnam or Taiwan), oil, and pigment. The sample boards were all prepared in the same manner, coated on both sides with raw lacquer, a layer with inert clay filler applied to both sides, and then ground smooth after drying in a wet box. The different lacquer formulations were then applied. The samples were artificially aged in a weather-ometer, exposing a new section of the sample each week for four weeks.
The degradation was evaluated using five factors: color, gloss, surface pH, autofluorescence, and microcracking.
Color – Fading was not a reliable assessment of degradation of black lacquer, but worked well for red lacquers. Microfadometer tests have placed red lacquers between Blue Wool 2 & 3, indicating that lacquer has similar light sensitivity to paper or textiles.
Gloss – Each sample had a different original gloss, with laccol on its own having less gloss than urushi, but becoming very glossy with the addition of oil. Transparent urushi retained its gloss well, but formulations with added oil lost a significant amount of gloss after aging.
Autofluorescence – chemical changes in lacquer seemed immediate once exposed to light (after 12 hours, the differences were obvious) but there is a maximum point at 1 week, then the autofluorescence decreases.
Surface pH –  The pH of lacquer doesn’t necessarily drop as it ages. Transparent lacquer seems to have the lowest pH after aging because the light can penetrate it and therefore it gets more light damage. There was not direct correlation between the amount of oil and pH after aging, but they generally had higher pH. After approximately 1 week the pH reaches a plateau and then after 3-4 weeks it goes back up. Clearly, lacquer’s pH does not have a linear relationship to aging. Disclaimer: All pH tests damage the surface of lacquer since they require water to solubilize degradation products, leaving a void.
Microcracking – All of the samples showed changes after exposure to light. The patterns were distinct and all different.
The level of detail in the investigations and results of the study was incredibly impressive. The study emphasized the number of factors that one should consider when approaching each individual piece of lacquer. The author also indicated a desire to investigate formulations with Thitsi lacquer (from Burma and Thailand) and the sudden fogging phenomenon sometimes observed when lacquer is exposed to heat and moisture in the future.

39th Annual Meeting – General Session, June 2 “Objects of Trauma, Finding the Balance” by Jane Klinger

Do the things that survive trauma become imbued with additional meaning?  Must conservators find and understand both the empirical and the non-empirical  when treating objects?  These questions are key to understanding the theme of Jane Klinger’s general session presentation on Objects of Trauma, Finding the Balance.  Klinger brings the Pathos to the conference.  She points out objects that become survivors of war, terror, assassination, or persecution, carry with them the emotion of the assault. Klinger is the Chief Conservator at the US Holocaust Memorial Museum and brings to her presentation an intimate knowledge of treating objects of trauma. 

Klinger presents three main examples of the way Pathos plays a key role in the conservation of objects of trauma.  She begins by describing the top coat worn by Danish Resistance Fighter Jorgen Jespersen in 1944.  The coat, now located in the National Museum of Danish Resistance, is a symbol of national pride in the resistance of Nazi oppression.  According to Jespersen’s testimony, the Gestapo attempted to arrest him but he reached into his upper pocket and shot through his topcoat to wound and escape his captors.  In an example of the emotional weight of the object overshadowing it’s preservation, it appears that holes where added to the coat to emphasize the danger Jespersen survived.

The second example of the emotional weight associated with objects can be found in the Baker collection of objects at the U.S. Holocaust Memorial Museum.  Helen and Ross Baker were Americans who found themselves in Vienna during the time that Nazis took over the city.  They recorded the occupation and the closure of Jewish stores to non-Jews in both film and through diaries.  Their son, Stan Baker, later used the diaries to present the observations of his parents.  Upon donating the collection, the curators found that Stan had added notations to his mother’s diaries.  When the conservators were asked to remove the notations, they explained that the ink would still be faintly seen and impressions in the paper would be permanent.  Because of a thorough understanding of the emotional value as well as the physical condition, the decision was made to leave the notations as part of the historical record of the object.

Klinger uses objects that survived September 11 as a third example of Pathos and ethical considerations in the conservation of objects of trauma.  She discusses the Vesey Station Stairs and the Ladder Co. 3 Fire truck as objects that survived the horrors of 9/11.  The stairs have become a symbol of safety and escape to the survivors of the terrorist attacks.  The damaged fire truck carries with it the evidentiary authority of September 11, 2001.  Should the brutally damaged object be cleaned of the dust of 9/11?  Klinger argues that the emotions surrounding 9/11 are so emotionally raw that rational decisions may not be possible.

Through these examples, Klinger argues that it is the role of the conservator to incorporate rather than evade the Pathos of the object.  As a conservation scientist, there are times I get lost in the materials used and mechanics of deterioration of the object.  This talk serves as a vivid reminder of the added value of the emotions associated with the cultural object.