Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. RE: Salted Watercolors Preservation 2. RE: Caring for Japanese swords 3. Conference Announcement: FUTURE TALKS 025. From failure to success. 4. RE: Is there a US supplier for Bondina? 5. PhD opportunity, 3d printed replicas in Museums 6. Black Archival Felt 7. RE: Consolidate for the walls of a padded cell. 8. Ask Me Anything on Grant proposals and project applications ------------------------------------------------------------------------------------------------------------ 1.From: Eve Menei Posted: Friday December 6, 2024 5:40 PM Subject: RE: Salted Watercolors Preservation Message: Dear Danielle, Thank your for sharing these amazing pictures. I never heard of such a watercolour technique. It reminds me of the sated terra cotta ostraca found in Egypt. But in that case the salt crystals are accidental and create damage to the documents, exploding the surface. But it looks very close. I would think drastic control of the RH is paramount to avoid increasing the salt crystals formation. Good luck ! ------------------------------ Eve Menei Paper Conservator Freelance/Private Practice/Self-employed/Independent Paris ------------------------------ ------------------------------------------- Original Message: Sent: 12-03-2024 11:47 From: Danielle Creech Subject: Salted Watercolors Preservation Hello - We have recently acquired an archival collection with some salted watercolors in them. The artist liked the textural component of salt crystals, so these are.... quite chunky. Other than housing them to protect the salt from being abraded off, are there other preservation factors I should consider due to the excess of salt that must remain on the artwork and/or other preventative measures I should take to preserve them? You can see some detail shots here: https://wustl.app.box.com/s/f8kb47wd028bh3cly609yc4dn3maexwp <https://wustl.app.box.com/s/f8kb47wd028bh3cly609yc4dn3maexwp> Thanks in advance for any advice, Danielle ------------------------------ Danielle Creech Head of Preservation, Processing & Exhibitions WashU Libraries Saint Louis MO ------------------------------ 2.From: Dominique Robcis Posted: Friday December 6, 2024 5:40 PM Subject: RE: Caring for Japanese swords Message: LO Mya, J'ai eu l'occasion de travailler tant en tant que restaurateur que conservation scientist sur les métaux japonais, très beau sujet au niveau technique et déontologique, mais bien complexe. Si vous avez envie d'échanger sur la question, [email protected] ------------------------------ Dominique Robcis conservation scientist Centre de Recherche et de Restauration des Musées de France Paris ------------------------------ ------------------------------------------- Original Message: Sent: 12-05-2024 04:48 From: Mya Nguyen Subject: Caring for Japanese swords Hello everyone, I'm currently in my last year of studies in conservation-restoration in France. I dedicated this entire year to the study and restoration of a Japanese sword and just completed an internship in Musée des Confluences, Lyon, for the study of their Japanese swords collection. These works have made me really curious about how you care about these objects. I found that there is a huge gap between Japanese practices and others, as well as between private collectors and public institutions. One of the main difference being the systematic dismantling of swords in Japanese and private collections (I'm generalizing for the sake of this message), and the regular cleaning + oiling for the blade. Restoration should also be done by a professionnal polisher trained in Japan (togishi), and might cost up to 20€/cm (without counting on the international transportation and the waiting list of several months). I'm lurking in specialized forums who do not hesitate to look down on museums regarding the care they have for Japanese swords (wrong informations, no measurements or bad ones, etc.). We don't have any specialist in France nor do we have a go-to restorer for these objects. This leads to all of the Japanese swords staying backstage, which is a quite a shame. I'm trying to think of an in-between solution which could be satisfying for the private collectors (who would then be more keen to collaboration I think), but also do-able for the institutions regarding their limited budget and time. All of this to ask you : how do you care about Japanese swords ? If you are a restorer, did you already intervene on one ? What did you do ? I'd be very glad to discuss this with all of you ! ------------------------------ Mya Nguyen Student École Supérieure d'Art d'Avignon Avignon ------------------------------ 3.From: Tim Bechthold Posted: Friday December 6, 2024 5:41 PM Subject: Conference Announcement: FUTURE TALKS 025. From failure to success. Message: FUTURE TALKS 025 FROM FAILURE TO SUCCESS INNOVATIVE CASE STUDIES IN THE CONSERVATION OF THE MODERN The Conservation Department of Die Neue Sammlung - The Design Museum - is organizing the ninth international conference in the FUTURE TALKS series at the Pinakothek der Moderne, Munich, from 5 to 7 November 2025. The FUTURE TALKS conference series, initiated every two years since 2009, is an international conference format for the transfer of knowledge on modern material and technology innovations to current conservation research projects. The focus here is on the active restoration of modern materials and the analysis and documentation of the technologies used. Specific interdisciplinary projects are presented, scrutinized and evaluated as part of specialist lectures, workshops, speed lectures and panel discussions. FUTURE TALKS is internationally regarded as THE platform for the conservation of modern materials and technologies in design and art. CONFERNCE TOPIC 16 years, eight conferences and a good 230 lectures later, we would like to dedicate the FUTURE TALKS 025 conference to an aspect that is directly linked to the evolution of human culture: Innovation through mistakes. In our culture, especially in the working environment of conservators and conservation scientists, mistakes are usually associated with professional failure. This is understandable, as in the worst case this can lead to the loss of irretrievable cultural assets. What is crucial in this context, however, is how to deal with failure. Nevertheless mistakes and failures have always been an integral part of innovative scientific research. The decisive factor is the acceptance of being able to make mistakes and the willingness and motivation to share and learn from them, develop improvements and draw the right conclusions While it is still common practice at conferences and in professional exchanges to emphasize only the successful and effective case studies, the frank dialogue has a much greater, indeed almost inexhaustible potential for innovation and professional progress in our field. The FUTURE TALKS offer both the professional and the necessary protected framework for discussing and advancing relevant projects. Beyond this focus, FUTURE TALKS 025 will also take a closer look at outstanding research projects that have never been published before. In addition to lectures on this topic, a panel discussion and the opportunity to discuss specific questions with experts in small specialist groups, or in 1:1 mode, designers and artists will give inspiring insights into their current fields of activity in exciting keynotes in dialogue with the content of the lectures. BACKGROUND Since the beginning of industrialization, the increasing development of new materials and the associated innovative forms of technology have had an ever greater influence on the design of goods and works of art. To this day, materials are designed, modified and adapted to the needs of the market and the environment. Conservators who are confronted with cultural assets of the modern age must recognize and interpret these complex relationships in order to gain an appropriate understanding of the ageing processes and thus define suitable conservation methods and correspondingly adequate treatment strategies. In this context, the interdisciplinary dialog with conservation scientists, engineers, designers and producers represents a central tool for understanding modernity. In this context, the FUTURE TALKS have been offering an international, discursive platform for innovative case studies every two years since 2009. The focus of this conference series is on the application, restoration and analysis of modern materials and technologies in design and the visual arts. In order to increase the proportion of practice-relevant contributions, a special focus is placed on exemplary case studies. With more than 2000 participants from over 30 nations, the first eight conferences and the seven conference post prints published to date have generated an enthusiastic response and made the term FUTURE TALKS internationally synonymous with the preservation of modern materials. FUTURE TALKS is internationally recognized as THE established forum for professional networking, interdisciplinary lectures, workshops and discussions on modern materials and technologies and their impact on the world of museums, galleries and private collections. With a focus on an increasing number of interdisciplinary contributions related to technologies and modified analysis techniques, our aim is to optimize the decision-making process in the conservation of modern materials and to discursively guide and define possible avenues for active treatments. The FUTURE TALKS help to sensitize the public to the fact that even industrially produced products are subject to a gradual degradation of material, which in the worst case can lead to a loss of our cultural identity and history. ORGANIZER The conference series is initiated and organized by the Conservation Department of Die Neue Sammlung - The Design Museum. The Conservation Department has been focusing on the phenomenon of the ageing of modern materials for 22 years now. Through numerous conference papers, specialist publications, practical research projects and international teaching assignments (University College of London (UCL), Doha, Qatar, Technical University of Munich (TUM), Munich, State Academy of Fine Arts Stuttgart and Academy of Fine Arts, Vienna, Austria), the Conservation Department of Die Neue Sammlung is one of the world's leading institutions dealing with the ageing and restoration of modern materials in design. TARGET GROUP In order to facilitate a lively and interdisciplinary dialog, the conference is aimed at conservators, conservation scientists, designers, architects, artists, curators, collectors, engineers and design and art producers. VENUE Pinakothek der Moderne, Munich, Germany DATE November 05 - 07, 2025 BOOKING Starts in spring 2025 – look for further announcements FURTHER INFORMATION Tim Bechthold Head of Conservation – Die Neue Sammlung I The Design Museum [email protected] FUTURE TALKS | Die Neue Sammlung <https://www.die-neue-sammlung.de/en/future-talks/> ------------------------------ Tim Bechthold Head of Conservation Die Neue Sammlung München ------------------------------ 4.From: Beth Edelstein Posted: Friday December 6, 2024 5:41 PM Subject: RE: Is there a US supplier for Bondina? Message: Hi Denise and Jessamy! I recently looked for Bondina as well, no US suppliers, we bought from the UK. There is a thread in the AIC member community from 2019 with the same question, same conclusion - someone kindly sent a list of European and UK suppliers at that time. I did find a sample of a very similar material in a sample book from our Asian paintings conservators but I believe that was from a company in China, so no advantage there. But if you're interested in that I can find out more! happy Friday, Beth ------------------------------ Beth Edelstein Senior Conservator Cleveland Museum of Art Cleveland OH (917) 364-3120 ------------------------------ ------------------------------------------- Original Message: Sent: 12-05-2024 12:04 From: Jessamy Gloor Subject: Is there a US supplier for Bondina? Hi Denise! The last time we bought it (2021) we tried to find an in-US vendor but couldn't, so we had to get it straight from Britain. Hope that's enough to get your purchase approval. Jessamy ------------------------------ Jessamy Gloor Lead Paper Conservator The Huntington Library, Art Museum, and Botanical Gardens San Marino CA United States pronouns: she/her(s) ------------------------------ Original Message: Sent: 12-03-2024 15:05 From: Denise Stockman Subject: Is there a US supplier for Bondina? I recently borrowed some Bondina to use when lining a fractured transparent paper item and it worked really well in terms of being really smooth and stick-resistant. I would like to buy some to keep in stock in our lab. Is there a US supplier? I need to verify this before getting approval to purchase from abroad. Thank you. (In case anyone is wondering what I used as lining paper for the fractured transparent paper item, I used Talas Hanji #1201 <https://www.talasonline.com/Hanji-Handmade-Korean-Papers?quantity=1&type=287&Hanji=23&srsltid=AfmBOopFq0jVHwRnQjyXf1QY7xjlGTscSt7e8nYFA2gFJd6rpUcUCNQP> -series 3; 13gsm, and the results were very satisfactory.) Denise ------------------------------ Denise Stockman Senior Paper Collections Conservator New York Public Library Kew Gardens NY ------------------------------ 5.From: Jacqueline Chapman-Gray Posted: Friday December 6, 2024 5:42 PM Subject: PhD opportunity, 3d printed replicas in Museums Message: On behalf of Duncan Murdock Dear all, The University of Warwick, and Oxford University Museum of Natural History are advertising a fully-funded four-year PhD opportunity as part of the AHRC Collaborative Doctoral Partnership Scheme on the topic of Evaluating the Influence of Tangible 3D Printed Replicas on the Museum Experience. Application are open now. Full details and how to apply here <https://warwick.ac.uk/fac/sci/wmg/study/research-degrees/vacancies/evaluatingtheinfluenceoftangible3dprintedreplicas/>. Best, Duncan --- Dr Duncan Murdock he/him Collections Manager, Earth Collections Oxford University Museum of Natural History Parks Road, Oxford, OX1 3PW, UK | +44 (0)1865 272955 @morethanadodo www.oumnh.ox.ac.uk <http://www.oumnh.ox.ac.uk/> About Megalosaurus 1824-2024 <https://oumnh.web.ox.ac.uk/megalosaurus-0> Best wishes, Jackie Jacqueline Chapman-Gray Conservator, Life Collections Working hours 07:00-15:30 Oxford University Museum of Natural History Parks Road, Oxford, OX1 3PW | 01865 272972| [email protected] <[email protected]> | www.oumnh.ox.ac.uk <http://www.oumnh.ox.ac.uk/> About Megalosaurus 1824-2024 <https://oumnh.web.ox.ac.uk/megalosaurus-0> 6.From: Shirley Ellis Posted: Friday December 6, 2024 5:42 PM Subject: Black Archival Felt Message: Does anyone know of a Canadian or American supplier for black archival felt (polyester)? Shirley Ellis Sent from my iPhone 7.From: Kayla Silvia Posted: Friday December 6, 2024 5:42 PM Subject: RE: Consolidate for the walls of a padded cell. Message: Hi Katie, To better assist, could you provide more information about which materials have started to crack and flake? Is the issue localized to the vinyl exterior, the underlying foam or polymer layer, or both? I am currently researching the treatment of rubber and polyurethane-coated textiles, and based on the specifics, I'd be happy to provide more tailored recommendations. Best, Kayla Silvia-Winokurzew Engen Conservation Fellow Smithsonian's National Air and Space Museum ------------------------------ Kayla Silvia Engen Conservation Fellow National Air and Space Museum Alexandria VA ------------------------------ ------------------------------------------- Original Message: Sent: 12-04-2024 08:38 From: Katie Proctor Subject: Consolidate for the walls of a padded cell. I have recently been asked how to consolidate the walls of a padded cell at a local museum. The walls are made from a polythene or polyurethane covered in vinyl. The materials has started to crack and flake. Can anyone suggest a consolidate that may be used? The padded cell is usually open for people to enter and walk around in, but it has been closed off for the moment. Ideally the museum would like to open this back up for visitors. Thank you, Katie. ------------------------------ Katie Proctor Conservator West Yorkshire Archive Service Wakefield ------------------------------ 8.From: M. Susan Barger Posted: Friday December 6, 2024 5:47 PM Subject: Ask Me Anything on Grant proposals and project applications Message: 🖊️💸📝 At Conserv, we have scheduled the last AMA (Ask Me Anything) of the year on Grant Proposals and Project Applications with of Sustainable Conservation <https://www.lesscarbonmoreculture.com/>! The way this works is that you have up until 1pm ET on December 17th to type your questions as a reply to this post. Christopher will be logged into the community for an hour starting at that time to type replies to your questions. You do not have to be present while he is doing this as you and everyone else will be able to see the answers at any time following the AMA. Go ahead and start asking your specific questions now 🏁🐎. BONUS points if you ask good general questions that you think may benefit the entire community (even if you think you may know the answer)! If you have a question, you would like posted anonymously, let me know. Susan ------------------------------ M. Susan Barger, PhD Conserv Community Board [email protected] Santa Fe NM ------------------------------ You are subscribed to "Global Conservation Forum (ConsDistList)" as [email protected]. To change your subscriptions, go to http://community.culturalheritage.org/preferences?section=Subscriptions. 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