I've also noticed that recently (tape purchased within the last year or so) has done the same. I used it recently to adhere a handmade mylar strap to a board to hold a poster in place in an exhibit and after roughly 4 days the tape separated and the poster came loose.
I'm interested to hear if anyone else is having this issue and if 3M has changed their formula in some way. Amanda Richards Preservation Technician The University of Tennessee, Knoxville Betsy B. Creekmore Special Collections 329 Hodges Library 1015 Volunteer Blvd. Knoxville, TN 37996 [email protected] (865) 974-6153 tiny.utk.edu/GetToThePoint Big Orange. Big Ideas. On 6/18/19, 7:05 AM, "consdistlist on behalf of [email protected]" <[email protected] on behalf of [email protected]> wrote: Send consdistlist mailing list submissions to [email protected] To subscribe or unsubscribe via the World Wide Web, visit http://cool.conservation-us.org/mailman/listinfo/consdistlist or, via email, send a message with subject or body 'help' to [email protected] You can reach the person managing the list at [email protected] When replying, please edit your Subject line so it is more specific than "Re: Contents of consdistlist digest..." The Conservation DistList (ConsDistList) is a project of the Foundation for Advancement in Conservation (FAIC). Today's Topics: 1. June 2019 issue of the Journal of the Institute of Conservation (Vol 42, no. 2) is now available online (Journal) 2. New Anthology: The Explicit Material - Inquiries on the Intersection of Curatorial and Conservation Cultures (Holling, Hanna) 3. Material Immaterial: Photographs in the 21st Century Symposium & Seminar Registration Open (Sarah Saetren) 4. Reminder: Icon PhMG event: Protecting daguerreotypes: a new structural housing system (Stephanie Jamieson) 5. Position Available: Museum Technician (Art), Frame Technician, National Gallery of Art Washington DC USA (Skalka, Michael) 6. Collections Care Conservator vacancy at Eton College, Windsor, United Kingdom ([email protected]) 7. Concrobium (Jerry Shiner) 8. Plastic objects survey - acquisition & conservation (King, Rose) 9. Use of PTFE/Relic Wrap in conservation (Emma Smith (student)) 10. Crowdfunding pilot project (Lien Gyles) 11. 3m 415 tape (Karen Potje) ---------------------------------------------------------------------- Message: 1 Date: Sat, 15 Jun 2019 09:57:12 +0000 From: Journal <[email protected]> To: "[email protected]" <[email protected]> Subject: [Consdistlist] June 2019 issue of the Journal of the Institute of Conservation (Vol 42, no. 2) is now available online Message-ID: <am6pr05mb54892106113d356175d04cbbf4...@am6pr05mb5489.eurprd05.prod.outlook.com> Content-Type: text/plain; charset="Windows-1252" The June 2019 issue of the Journal of the Institute of Conservation (Vol 42, no 2) is now available online https://www.tandfonline.com/toc/rcon20/current The issue features a diverse range of subjects and includes articles published as free-to-view with thanks to the support of the publisher, Taylor and Francis. Full Articles include: Eva Riess, Carolin Bohlmann and Ina Hausmann, >From Action to Object. On the Preservation of Performance based Installations by Joseph Beuys Du?an Barok, Julie Boschat Thorez, Annet Dekker, David Gauthier, and Claudia Roeck, Archiving complex digital artworks Louise Lawson, Acatia Finbow, and H?lia Mar?al Developing a strategy for the conservation of performance-based artworks at Tate Rhiannon Clarricoates, and Eleni Kotoula The potential of Reflectance Transformation Imaging for Architectural Paint Research and the study of Historic Interiors: A case study at Stowe House Oluwole Ejiwoye Rasaki Disaster management practices in university libraries in Nigeria The issue also features three Book Reviews with Chris Caple on Engaging Conservation, Collaboration across Disciplines; Lara Broecke on Tricks of the Medieval Trades: The Trinity Encyclopedia, a collection of 14th century English craft recipes; and Emma Jansson on A Changing Art: Nineteenth-Century Painting Practice and Conservation. Icon members and subscribers can access and download these articles for free by logging in at: http://iconjournal.weebly.com/ Please enter the password that was sent to you with your membership renewal package or contact membership_at_icon.org.uk. With Icon membership you have free access and downloads of this issue, a printed copy arriving on your doorstep, and access to all the back catalogues of the Journal, The Conservator and The Paper Conservator - see https://icon.org.uk/support-icon/join-icon The Journal of the Institute of Conservation is fully peer-reviewed scholarly publication focussed on the preservation of cultural heritage in all its forms and primarily publishes innovative research, practice-related articles and shorter notices. We also welcome book reviews and we especially welcome contributions from emerging conservators. If you would like to discuss a potential article please contact the Editor on journal_at_icon.org.uk. Many thanks, Dr Jonathan Kemp, Editor, Journal of the Institute of Conservation ------------------------------ Message: 2 Date: Sat, 15 Jun 2019 12:56:40 +0000 From: "Holling, Hanna" <[email protected]> To: "[email protected]" <[email protected]> Subject: [Consdistlist] New Anthology: The Explicit Material - Inquiries on the Intersection of Curatorial and Conservation Cultures Message-ID: <[email protected]> Content-Type: text/plain; charset="utf-8" We are excited to announce the publication of a new anthology of essays, titled The Explicit Material: Inquiries on the Intersection of Curatorial and Conservation Cultures. The book, co-edited by Hanna H?lling, Francesca Bewer and Katharina Ammann, gathers varied perspectives from the discourses of conservation, curation and humanities disciplines to focus on aspects of heritage transmission and material transitions. The authors observe and explicate the myriad transformations that works of different kinds-manuscripts, archaeological artefacts, video art, installations, performances, film, and built heritage-may undergo: changing contexts, changing matter, changing interpretations and display. Focusing on the vibrant materiality of artworks and artefacts, The Explicit Material puts an emphasis on objects as complex constructs of material relations. By so doing, it announces a shift in sensibilities and understandings of the significance of objects and the materials they are made of, and on the increasingly blurred boundaries between the practices of conservation and curation. List of contributors in alphabetical order: Katharina Ammann, Francesca Bewer, Judit Bodor, Thea Burns, Birgit Cleppe, Paul Eggert, Hanna H?lling, David Lowenthal, Jorge Otero-Pailos, Elisabeth Pye, Dawn W. Rogala, and Anna Sch?ffler. Cover illustration: Com&Com (Johannes M. Hedinger/Marcus Gossolt), Baum (Tree), 2010. Installation view at Kunsthaus Pasquart Biel, Switzerland, 17 January?14 March 2010. Image: Daniel Schmid. Log in to download an e-book of The Explicit Material via institution: https://brill.com/abstract/title/38670 The Explicit Material, published in Studies in Art and Materiality, Vol. 1, Leiden and Boston: Brill Page Numbers: xviii, 290 pp., 55 full color ill. Publication Date: 2019 Hard copy available in July. To purchase the book, follow the links to Brill Publishing<https://brill.com/abstract/title/38670> https://brill.com/abstract/title/38670 or Amazon<https://www.amazon.co.uk/Explicit-Material-Studies-Art-Materiality/dp/9004372814/ref=sr_1_3?keywords=hanna+holling&qid=1560600796&s=books&sr=1-3> https://www.amazon.co.uk/gp/product/9004372814/ref=dbs_a_def_rwt_bibl_vppi_i2 Dr Hanna Holling History of Art and Material Studies | Department of History of Art | University College London | Gower Street | London WC1E 6BT T: +44 (0) 20 3108 4032 | E: [email protected]<mailto:[email protected]> |Office hour: Wednesdays 1-2 pm | Room 406 ------------------------------ Message: 3 Date: Fri, 14 Jun 2019 17:59:24 +0000 From: Sarah Saetren <[email protected]> To: "[email protected]" <[email protected]> Subject: [Consdistlist] Material Immaterial: Photographs in the 21st Century Symposium & Seminar Registration Open Message-ID: <sn6pr01mb401404fc6a297c9b1c18439fa2...@sn6pr01mb4014.prod.exchangelabs.com> Content-Type: text/plain; charset="Windows-1252" Registration is now open for all components of Material Immaterial: Photographs in the 21st Century, taking place September 23 - 25, 2019 at Yale University, New Haven, CT. A full list of events associated with this program can be found at https://learning.culturalheritage.org/material-immaterial. Why print a photograph in 2019? We are witnessing the historic transformation of photography from tangible objects?prints, plates, and negatives?to code: intangible bits, bytes, and pixels. As the tether between visual culture and the material world is recalibrated every day, a new form of literacy is required to draw meaning from physical media and its obsolescence. At the very moment when characterization and interpretation of the printed photograph is rapidly gaining ground, the momentum toward dematerialization raises the issue of the long-term relevance and sustainability of photography as a material fact. Does the physical photograph still matter today?as a source for teaching, learning, and scholarship?and will it matter into the future? This three-day program is organized by Paul Messier, Director of the Lens Media Lab at Yale?s Institute for the Preservation of Cultural Heritage; Monica Bravo, Assistant Professor of History and Theory of Photographic Media at California College of the Arts; and colleagues at Yale University with the support and guidance of the FAIC Collaborative Workshops in Photograph Conservation advisory committee. The program and elective seminars will be geared for educators, students, curators, photographers and, particularly, for conservators whose core value proposition is most directly tied to the physical photograph. Insights from conservators, scholars, makers, and the art market will address the premise that physical photography is a closed set. The optional final day of the workshop will model interdisciplinary inquiry and seek to incubate collaborations focused on photography as a medium both material and immaterial. New tools will be examined for characterizing and contextualizing the photograph both as object and disembodied image. This program is presented by the Foundation for Advancement in Conservation and is supported by the Mellon Foundation and a grant from the National Endowment for the Humanities. ------------------------------ Message: 4 Date: Fri, 14 Jun 2019 00:22:19 +0100 From: Stephanie Jamieson <[email protected]> To: [email protected] Subject: [Consdistlist] Reminder: Icon PhMG event: Protecting daguerreotypes: a new structural housing system Message-ID: <[email protected]> Content-Type: text/plain; charset=utf-8 There are still tickets available for the Icon Photographic Materials Group?s next event, a practical workshop with photographic conservator Clara M. Prieto. Conservators, archivists and curators of historical photograph collections are invited to participate. The one-day workshop will be taught at the National Library of Scotland on each of two consecutive days: Thursday 4th and Friday 5th July 2019. Clara M. Prieto de la Fuente is an independent conservator and restorer of photographs and graphic art. In addition to conservation treatment and research, she teaches conservation and restoration at the Escuela Superior de Conservaci?n y Restauraci?n de Bienes Culturales in Madrid. Until 2010 she worked for Anne Cartier-Bresson in the Atelier de Restauration et Conservation des Photographies de la Ville de Paris as Conservation Project Manager. After receiving a grant from the Museo Nacional Centro de Arte Reina Sof?a she returned to Madrid, and in 2012 became a fellow of the Instituto de Patrimonio Cultural de Espa?a. She holds a Master?s degree in heritage conservation and a degree in the conservation and restoration of graphic art; in 2008 she was awarded a scholarship from the Ministerio de Cultura de Espa?a in order to specialise in photographic preservation at the Institut National du Patrimoine, Paris. This workshop will familiarise participants with the history, processing and housing of daguerreotypes. Theory on the documentation and system design for developing the new structural housing system for cased daguerreotypes will be outlined, and each participant will carry out practical work developing one or two protection systems for cased daguerreotypes The new structural housing system is designed to strengthen the first line of defence of the daguerreotype - the case - and protect it during storage, exhibition, handling and viewing, thereby mitigating the risk of further deterioration. The main objective of the workshop is to build a housing system that takes into account the whole object in its functionality and original structure, while allowing for its handling and viewing without increasing the risk of damage. The proposed system not only comprehensively protects daguerreotypes, and other encased photographs such as ambrotypes, but also recreates something of the original intimate viewing experience. Each workshop will host a maximum of eight participants, who are encouraged to bring their own encased daguerreotypes or ambrotypes for practise. ?" plates will be used most frequently, but the exercises can be done using plates of any size; smaller plates will be more complicated while larger ones will require more material. Visit our eventbrite page for tickets: https://www.eventbrite.co.uk/e/protecting-daguerreotypes-a-new-structural-housing-system-tickets-61227450954 <https://www.eventbrite.co.uk/e/protecting-daguerreotypes-a-new-structural-housing-system-tickets-61227450954> ------------------------------ Message: 5 Date: Mon, 17 Jun 2019 12:47:26 +0000 From: "Skalka, Michael" <[email protected]> To: "[email protected]" <[email protected]> Subject: [Consdistlist] Position Available: Museum Technician (Art), Frame Technician, National Gallery of Art Washington DC USA Message-ID: <[email protected]> Content-Type: text/plain; charset="utf-8" The National Gallery of Art Conservation Division, Washington, DC, has a position available in the Preventive Conservation Department. The primary purpose of this position is to perform treatments on frames owned by the National Gallery of Art, including the preparation of frames for the permanent collection, exhibitions and travel. In order to apply, please visit the website USAJobs at https://www.usajobs.gov Enter ?Museum Technician (Art)? in the Keywords search field to locate the preventive conservation technician position being offered by the National Gallery of Art. Follow the instructions in order to apply. Acceptance of applications for the position closes on July 7, 2019. National Gallery of Art Conservation Division Washington, DC ------------------------------ Message: 6 Date: Fri, 14 Jun 2019 07:56:54 +0000 From: <[email protected]> To: <[email protected]> Subject: [Consdistlist] Collections Care Conservator vacancy at Eton College, Windsor, United Kingdom Message-ID: <[email protected]> Content-Type: text/plain; charset="us-ascii" We are seeking to appoint a conservator with broad experience of the preventive care of heritage and/or museum collections. You will work in collaboration with curators to ensure that the Eton College Collections can be made safely accessible for teaching, academic study and public enjoyment. You will also support identified areas of basic collections care need and specific projects both across the College Collections and within individual library, archive, art and museum collections, providing advice and practical help to curatorial staff. The Eton College Collections include books and manuscripts, art and artefacts and natural history specimens, ranging from the prehistoric to the present day. The quality and scope of the Collections are unique among schools, and they are of national and international significance. As part of a living institution, they play a role in the everyday life of the college, and they are used extensively in teaching. Today, the Collections are also open to the global research community and serve-through exhibitions, events, visits and educational programmes-as the first point of contact with the college for many schoolchildren, students, art lovers, history buffs and specialists. In return, Eton College offers a wide range of benefits, including an 11% employer contribution to your pension (with 4.9% employee contribution), free eye care tests, a cycle to work scheme and free access to the College's sport and leisure facilities. This is a permanent, part-time (28 hours per week) role, available from September 2019. There may be some flexibility on the hours to be worked per week. Salary: Dependent on skills and experience Application deadline: Monday 1 July 2019 at 10am Interviews are expected to take place during the weeks commencing 22 and 29 July. For a job description, and to apply, please visit https://www.etoncollege.com/JobVacancies.aspx. Eton College is committed to safeguarding and promoting the welfare of children, and applicants must be willing to undergo child protection screening appropriate to the post, including checks with past employers and an Enhanced Disclosure from the Disclosure and Barring Service. Eton College is an equal opportunities employer, and welcomes applications from all sections of the community. ---------------------------------------- If you are not the intended recipient of this email or his/ her representative please do not read, copy, distribute, use or retain this message or any part of it. If you have received this email in error please notify the sender immediately and delete it from your system. This email and any attachments may contain information that is confidential or protected by legal privilege. Statements and opinions in this email or any attachment are not necessarily agreed or authorised by Eton College or its subsidiary companies. Please note that Eton College may monitor and/or archive emails sent or received for operational, risk management and business reasons. We advise that you carry out your own virus checks before opening any attachment. Eton College is a registered charity with Charity Commission number 1139086. Eton College, Windsor, Berkshire SL4 6DW ------------------------------ Message: 7 Date: Fri, 14 Jun 2019 10:53:36 -0400 From: Jerry Shiner <[email protected]> To: [email protected] Subject: [Consdistlist] Concrobium Message-ID: <[email protected]> Content-Type: text/plain; charset=utf-8; format=flowed Shannon I suggest you read the MSDS for Concrobium to see what you are paying for. Generally, your choices for mold remediation seems to be: Chlorine bleach based chemistry TSP based chemistry Quaternary Ammonium Biocides There's lots of info out there, including some excellent explanations on how these chemicals work that are not mostly advertising bumph. eg:"it is made from 'sodium carbonate and 2 other ingredients in solution that combine to form a tri-salt polymer.'" Be cautious, as all these chemicals are poisonous (they kill mold, right?) TSP is a powerful detergent, and has been a basic component of laundry and dishwashing detergents for many years.? I know sodium percarbonate and sodium metacarbonate are also used in laundry detergents to produce hydrogen peroxide when they react with water. Someone with a better understanding of chemistry should jump in here. TSP is available in any hardware store, and Oxyclean is a grocery store laundry detergent booster (and a component of most laundry detergents). Nice packaging, though! js -- Jerry Shiner Keepsafe Microclimate Systems www.keepsafe.ca +1 416 703 4696 [email protected] Skype: jerry.shiner Specializing in the design, procurement, and installation of environmental control systems for museum and archives ------------------------------ Message: 8 Date: Mon, 17 Jun 2019 20:00:44 +0000 From: "King, Rose" <[email protected]> To: "[email protected]" <[email protected]> Subject: [Consdistlist] Plastic objects survey - acquisition & conservation Message-ID: <vi1pr01mb483100009d5a97c7d2ab6a599b...@vi1pr01mb4831.eurprd01.prod.exchangelabs.com> Content-Type: text/plain; charset="us-ascii" Dear all, As part of our work on plastic degradation and conservation at University College London, we'd love to hear your experience of acquiring and conserving plastic objects. Please help us by completing our short survey; https://opinio.ucl.ac.uk/s?s=60201 With thanks & best wishes, Katherine Curran and the Plastics Team at UCL [email protected]<mailto:[email protected]> ------------------------------ Message: 9 Date: Sun, 16 Jun 2019 11:34:49 +0000 From: "Emma Smith (student)" <[email protected]> To: "[email protected]" <[email protected]> Subject: [Consdistlist] Use of PTFE/Relic Wrap in conservation Message-ID: <lo2p265mb116676e23946b44fef9e598b89...@lo2p265mb1166.gbrp265.prod.outlook.com> Content-Type: text/plain; charset="iso-8859-1" For my dissertation as part of the MPhil in Textile Conservation at the University of Glasgow, I am investigating the use of polytetrafluoroethylene (PTFE) film, also known as Relic Wrap, Teflon Tape or Plumbers Tape, specifically looking at its dimensional stability. Due to the limited publication on the use of PTFE in conservation, I am asking heritage professionals and particularly conservators from across conservation disciplines to complete a survey to better understand how the material is being used. This will help to contextualise the research, as well as allowing any recommendations made to be specific to the context it is being used in. The questionnaire has been designed to be as user friendly as possible and should only take 10-15 minutes to complete. Your responses will be an extremely valuable contribution to the research. The link to the survey is https://forms.office.com/Pages/ResponsePage.aspx?id=KVxybjp2UE-B8i4lTwEzyDKUrTwGGuxLlzqEXGNmeFtUMkdKNUQwRkhJOE5RVFdDNk4zNTRMWUlEMy4u I would be grateful if you could complete this survey by July 1st 2019. Please forward this survey to anyone you know of using the material. With thanks, Emma Smith ------------------------------ Message: 10 Date: Mon, 17 Jun 2019 16:20:50 +0000 From: Lien Gyles <[email protected]> To: "[email protected]" <[email protected]> Subject: [Consdistlist] Crowdfunding pilot project Message-ID: <vi1p190mb00149c6f609ecdc847bd6e0da5...@vi1p190mb0014.eurp190.prod.outlook.com> Content-Type: text/plain; charset="iso-8859-1" Dear all Derbyshire Record Office (the county archive of Derbyshire, UK)) is running a pilot project to see whether we could use crowdfunding to raise extra funds for preservation / conservation projects. The campaign will run until 12 July - feedback, comments or advice from people with experience in running crowdfunding campaigns would be much appreciated. The project page is: https://www.crowdfunder.co.uk/ladyjanesmuseum Do feel free to share the page with anyone you think might be interested. Many thanks, Lien Gyles, Senior Conservator, Derbyshire Record Office, Matlock, UK [email protected]<mailto:[email protected]> ------------------------------ Message: 11 Date: Fri, 14 Jun 2019 21:09:16 +0000 From: Karen Potje <[email protected]> To: "[email protected]" <[email protected]> Subject: [Consdistlist] 3m 415 tape Message-ID: <[email protected]> Content-Type: text/plain; charset="us-ascii" Has anyone else noticed a change in the carrier of 3M tape 415, often referred to as encapsulation tape? In the last batch we ordered the carrier seemed thinner and more elastic. A thinner carrier would be fine for encapsulation or for light uses such as attaching handmade photo corners. But we often use it for weight-bearing uses - for example, laminating one board together to form mounting boards for vertical installation of objects (often with magnets embedded in one layer of the mount board.) Recently, two layers of a vertically hung mount board began to come apart as the carrier of the tape stretched and the top layer of board crept downward. I'd be interested in knowing if anyone else uses a lot of 3M 415 and has found the carrier to have changed. We are now looking for a stronger double-sided tape with an acrylic adhesive and polyester carrier. Any suggestions? I'll start looking at the 3M website to see what they have. Karen Potje Head, Conservation/Preservation Canadian Centre for Architecture, Montreal --- Karen Potje Chef, Conservation et Restauration Head, Conservation and Preservation Centre Canadien d'Architecture Canadian Centre for Architecture 1920, rue Baile, Montr?al, Qu?bec, Canada, H3H 2S6 +1 514 939 7001 x 1236 cca.qc.ca<https://www.cca.qc.ca/fr/?utm_source=fr_email_signature&utm_medium=email> Twitter<https://www.twitter.com/ccawire> | Instagram<https://www.instagram.com/canadiancentreforarchitecture/> | Facebook<https://www.facebook.com/cca.conversation> | YouTube<https://www.youtube.com/user/CCAchannel> Que signifie la notion de < maison > pour vous?<https://www.cca.qc.ca/fr/issues/27/le-bonheur-nous-trouvera-t-il/64854/le-bonheur-consolide?utm_source=fr_email_signature&utm_medium=email> What does home mean to you?<https://www.cca.qc.ca/en/issues/27/will-happiness-find-us/64854/consolidated-happiness?utm_source=en_email_signature&utm_medium=email> <https://www.cca.qc.ca/en/cca-c-o/index?utm_source=en_email_signature&utm_medium=email> Inscrivez-vous<https://www.cca.qc.ca/fr/?go=enews&utm_source=fr_email_signature&utm_medium=email> pour recevoir de nos nouvelles. Sign up<https://www.cca.qc.ca/en/?go=enews&utm_source=en_email_signature&utm_medium=email> to get news from us. ------------------------------ Subject: Digest Footer ****** ****** Unsubscribe by sending a message to [email protected] Searchable archives: http://cool.conservation-us.org/byform/mailing-lists/cdl/ ------------------------------ End of consdistlist Digest, Vol 33, Issue 49 ******************************************** ****** Unsubscribe by sending a message to [email protected] Searchable archives: http://cool.conservation-us.org/byform/mailing-lists/cdl/
