Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. RE: Recordings Available: ICON Sustainability Group 2024 Conference: Agents of Change 2. Webinars for Collection Care Leadership 3. Change of Date: WCG 3-Ring Circus 4. Call for Papers: ICOM-CC 21st Triennial Conference 5. Escal Supplier 6. RE: Business as usual? Updates on the Los Angeles Wildfires? ------------------------------------------------------------------------------------------------------------ 1.From: Louise O'Connor Posted: Wednesday January 15, 2025 8:13 AM Subject: RE: Recordings Available: ICON Sustainability Group 2024 Conference: Agents of Change Message: thanks for sharing! ------------------------------ Louise O'Connor Conservator University College, Boole Library Cork Ireland ------------------------------ ------------------------------------------- Original Message: Sent: 01-14-2025 09:38 From: Sejal Goel Subject: Recordings Available: ICON Sustainability Group 2024 Conference: Agents of Change Hello! The Sustainability Committee would like to share that ICON's Sustainability Group 2024 Conference: Agents of Change: Heritage professionals adapting and innovating sustainable solutions is now available as recordings! Talks include wider initiatives and localised work from a wide range of institutions. Part One <https://www.youtube.com/watch?v=3Qp3A265xBI> Part Two <https://www.youtube.com/watch?v=v6f3yHzyd48> Both include transcripts to allow wider access. Check it out now! This information is third-party content reposted by the Sustainability Committee as a part of our mission to make sustainability issues and practices more visible in the field. ------------------------------ Sejal Goel Assistant Object Conservator Williamstown + Atlanta Art Conservation Center AIC Sustainability Committee Member ------------------------------ 2.From: Zoe Voice Posted: Wednesday January 15, 2025 8:15 AM Subject: Webinars for Collection Care Leadership Message: The British Library's Endangered Archives Programme is pleased to promote a series of five free webinars on Collection Care Leadership. Targeting collection custodians, these webinars will cover some key topics of managing and maintaining a collection and include time for a live Q&A portion. Please register your interest for each session using the links below: How to design a Survey of Collections Tuesday 28th January, 14:00-15:30 GMT Registration link: https://us02web.zoom.us/webinar/register/WN_SwwlpMNIRZWuNTfSGa9XgA <https://us02web.zoom.us/webinar/register/WN_SwwlpMNIRZWuNTfSGa9XgA> To care for your collections, first you must understand them. This webinar introduces the value of conducting a survey, and delves into the practicalities of planning, undertaking and analysing the data collected. Preservation and Conservation Policies: Part One Tuesday 4th February, 14:00-15:30 GMT Registration link: https://us02web.zoom.us/webinar/register/WN_FGyoANUSRtO3l_ejo5paDg <https://us02web.zoom.us/webinar/register/WN_FGyoANUSRtO3l_ejo5paDg> Policies turn the mission of an institution into a written plan of action. Part one of this webinar will introduce this topic and look at how to develop a Preservation Policy tailored to your institution's context. Preservation and Conservation Policies: Part Two Tuesday 11th February, 14:00-15:30 GMT Registration link: https://us02web.zoom.us/webinar/register/WN_1yUjKv2tSVq4fyodf8iepQ <https://us02web.zoom.us/webinar/register/WN_1yUjKv2tSVq4fyodf8iepQ> Part two of the policy webinar will focus more in-depth on the different components a policy might include, using real examples, and conclude with the implementation of a policy. Risk Management: Part One Tuesday 18th February, 14:00-15:30 GMT Registration link: https://us02web.zoom.us/webinar/register/WN_iAQqJ3BYQsukLrMAjjNe0w <https://us02web.zoom.us/webinar/register/WN_iAQqJ3BYQsukLrMAjjNe0w> Risk management empowers collection care custodians to acknowledge and control risk. This webinar discusses the risk management cycle, outlines the key threats to collections, and their impact. Risk Management: Part Two Tuesday 25th February, 14:00-15:30 GMT Registration link: https://us02web.zoom.us/webinar/register/WN_VBMYSXyvR4OtDRHVnvY6QQ <https://us02web.zoom.us/webinar/register/WN_VBMYSXyvR4OtDRHVnvY6QQ> Part two of the risk management webinar will walk through the steps of formatting and conducting a risk assessment and demonstrate the process using an example scenario. ------------------------------ Zoe Voice Conservation Training Manager The British Library London, UK ------------------------------ 3.From: Lindsay Cross Posted: Wednesday January 15, 2025 8:17 AM Subject: Change of Date: WCG 3-Ring Circus Message: WCG’s 2025 3-Ring Circus is sponsored by University Products The Washington Conservation Guild’s Annual 3-Ring Circus The S. Dillon Ripley Center, Smithsonian Institution RESCHEDULED MEETING DATE Wednesday, January 29th, 5:00–7:30 pm 1100 Jefferson Dr. SW, Washington DC, 20560 Nearest Metro Stations: Smithsonian (Blue/Orange/Silver); L’Enfant Plaza (Green/Yellow) Reception with Exhibitors from 5:00–6:30 pm | Presentations from 6:30–7:30 pm Cost: Free for WCG Members and $15 donation for non-members Please consider renewing your membership <http://www.washingtonconservationguild.org/membership> or donating online <https://washingtonconservationguild.org/donate/> before attending this event! Textiles Research Community Outreach Megan O’Brian*, Emily Bach, and Laura Mina “Museum Hat-Tricks: Storage Mount Variations for National Museum of African American History and Culture’s Black Fashion Museum Collection” Sue Donovan “Treating the Zoological Keepsake: Borrowing a Textile Conservation Approach for a Book Covered in Silk” Kaitlyn Seymour and Katherine Hill McIntyre “A Material Solution: Displaying a 9/11 Flag at the Secret Service Headquarters” Alice Craigie “Unveiling Red Star, 1970 by Raymond Saunders; Minor Conservation Treatment and Infrared Investigation” Grace Walters “In situ Stain Reduction on a Collage Using Solvent Gels and a Silicon-based Masking Agent” Ana Gabriela Calderόn Puente “From Installation to 3D Model: 3D Digital Reconstruction of Nam June Paik’s Electronic Superhighway at the Smithsonian American Art Museum” Anna Nielsen “Beyond the Glass: Exploring Alternative Public Engagement Opportunities with the Visible Conservation of James Hampton’s The Throne of the Third Heaven of the Nations’ Millennium General Assembly” Caitlin Mahony “Home to Mi’kma’ki: A Shared Stewardship Project at National Museum of the American Indian” Leah A. Bright* and Brian Michael Lione “Supporting the Save Your Family Treasures Program after Hurricane Helene” *Indicates speaker if co-authors will not be present Visit each of our exhibitors during the reception to enter the RAFFLE AIC, ArtFit 3D, FH Conservation, Hirox, Hollinger Metal Edge, Huntington T. Block, Polistini Conservation Material, Spacesaver Interiors, and University Products 2024/2025 WCG season memberships are $35 for professionals, $25 for renewing emerging professionals, and free to emerging professionals who are entering their first season as a WCG member. For more information about this season’s meetings, please visit https://washingtonconservationguild.org/meeting-schedule-2023-2024-season <https://washingtonconservationguild.org/meeting-schedule-2023-2024-season>. WCG encourages attendees to follow CDC guidelines; masks are always welcome. Our meetings are public, and pictures may appear on WCG’s website and social media accounts. Follow us on Instagram <https://www.instagram.com/dcconservators/>, Facebook <https://www.facebook.com/WashingtonConservationGuild>, and YouTube <https://www.youtube.com/channel/UCUWe7frisSeHDYTsJTaeSPg>! The Washington Conservation Guild’s Annual 3-Ring Circus 2025 Abstracts Ring 1: Textiles “Museum Hat-tricks: Storage Mount Variations for National Museum of African American History and Culture’s Black Fashion Museum Collection” Speaker: Megan O’Brian | Co-authors: Emily Bach and Laura Mina In 2023, the National Museum of African American History and Culture (NMAAHC) kickstarted a project dedicated to the processing and rehousing of its Black Fashion Museum collection, comprised of nearly 3,000 garments and accessories. The Black Fashion Museum (BFM) was established by Lois K. Alexander Lane in 1979 with the goal of showcasing and preserving the work of Black fashion designers and items worn by well-known African Americans. After her death, the collection was donated to NMAAHC in 2007. As the project’s Conservation Textile Specialists, one of our primary tasks is to create custom storage mounts and housing for every object in the BFM collection. Thus far, we have processed over 200 hats, and this presentation will focus on the development of a range of customized hat mount variations to support the wide assortment of hat styles in the collection. We will discuss how the basic hat mount structure and its variations can provide the necessary support for years of storage, as well as safe transportation between different locations. Because the BFM collection resides in NMAAHC’s off-site storage, our mounts must double as permanent storage housing and as containers that provide the required stability for objects travelling to and from the museum in downtown DC. We will share tips and tricks about how we fabricate mounts and supplementary supports constructed of soft and rigid archival materials. Moreover, we will explore how these mounts enable us to streamline this process of multipurpose housing. “Treating the Zoological Keepsake: Borrowing a Textile Conservation Approach for a Book Covered in Silk” Speaker: Sue Donovan Being the Conservator for Special Collections at the University of Virginia Library, I have often had the pleasure of working with a local textile conservator when we encounter textiles in need of treatment. But in the summer of 2024, I encountered a book with a silk covering that needed a textile conservator’s eye. The delicate pink silk on this book from 1830 was fraying and shattered on the front and back boards and almost completely missing from the spine. Further damage was not a question of if, but when. After a 2-hour consultation with the textile conservator, we arrived at an approach that would protect the silk from continuing to fragment and shear off, without the use of adhesives that could discolor the silk. In this short talk, I will present the method of preserving the silk covering using nylon bobbinette, a standard fixture in textile conservation, along with the ultrasonic welder and strips of heat-set tissue to tack the bobbinette in place around the binding like a dust jacket wrapper. “A Material Solution: Displaying a 9/11 Flag at the Secret Service Headquarters” Speakers: Kaitlyn Seymour and Katherine Hill McIntyre Caring for Textiles was approached by the Secret Service to assist with the conservation and display of an American flag that was flying at the site of the New York Field Office, on September 11, 2001. In its current condition, the flag has many areas of loss and melted debris that are witness bearing damages and scars. It was the Secret Services desire to free-hang the flag in the DC headquarters central atrium. Because the flag will free-hang permanently on display, visible from both sides, the flag had to be structurally ‘whole’ in order to hang safely and in a pleasing authentic manner. That meant looking for a material that could be used to ‘fill’ the holes, bridge the large gaps, and still be semi translucent. Our solution came in the form of Pe-Cap Monofilament Polyester Screen Cloth, because of the strength and dimensional stability it provides. The project required creative thinking and collaborative team work, as all of the treatment was done on site in the atrium that would eventually display the flag. This provided the Caring for Textiles team a rare public facing opportunity to share a “live treatment” and educate the Secret Service community. Ring 2: Research ADDED LECTURE: “Unveiling Red Star, 1970 by Raymond Saunders; Minor Conservation Treatment and Infrared Investigation” Speaker: Alice Craigie This presentation will explore the living artist Raymond Saunders, with a focus on the minor conservation treatment and technical discoveries surrounding his artwork, Red Star, created in 1970. Saunders was born in 1934 and spent much of his working life in Oakland California where he emerged in the 1950s as an influential figure in the art world. His work is largely represented in west coast collections, but he remains a seminal figure with continued influence amongst contemporary artists. Saunders works often confront issues surrounding race and identity. He also gained recognition for his acclaimed and thought-provoking article "Black is a color" dated 1967 which called for the rejection of “degrading limitations, and recognize the wider reality of art, where color is the means, not the end.” This talk will provide a brief overview of the minor conservation treatment performed on Red Star, addressing aspects such as realignment, correction of minor deformations, mitigation of flaking, and restoration of impasto losses. Red Star is described as ‘Oil and mixed media on canvas”. In reality, the artwork is comprised of a complex mix of oil, metallic paint, graphite, and collage which includes paper, synthetic fabric, and gummed tape on canvas. These mixed media inclusions prompted further technical study and this presentation will culminate with select revelations uncovered through infrared reflectography. These findings not only shed light on the artist's creative process but also unveil concealed narratives within this remarkable artwork. “In Situ Stain Reduction on a Collage Using Solvent Gels and a Silicon-Based Masking Agent” Speaker: Grace Walters Original cover art for the October 1933 issue of Vanity Fair came into the Conservation Lab at the Library of Congress for treatment due to a failing adhesive layer and associated residual staining. The collaged object is made up of two newsprint silhouettes of men, attached to secondary paper supports that are adhered to a painted board. The aged rubber cement adhesive adhering one of the newsprint silhouettes had failed in most places and had left dark yellow orange staining on the front of the newsprint. Solvent testing revealed that a blue component of the printing ink was sensitive to solvents that were effective at reducing the bulk adhesive from newsprint. Solvent gels combined with a silicon- based masking agent were used to reduce the adhesive from the newsprint elements in situ before securing them back to the secondary paper support. This presentation will include an improved solvent gel preparation method in addition to highlighting the steps and subsequent successful outcome of this treatment. “From Installation to 3D Model: 3D Digital Reconstruction of Nam June Paik’s electronic Superhighway at the Smithsonian American Art Museum” Speaker: Ana Gabriela Calderón Puente Time-based media artworks (TBMA) present unique documentation challenges due to their ephemeral and technological nature. They exist only in their installed state and evolve with each iteration. To address these challenges, my research as part of the Smithsonian Institution's Time-Based Media and Digital Art Working Group, explores using 3D reconstruction for documenting and analyzing these artworks. The project includes four case studies from Smithsonian museums, utilizing photogrammetry and geometric modeling to create detailed 3D representations. This talk will focus on Electronic Superhighway: Continental U.S., Alaska, Hawaii (1995) by Nam June Paik, an iconic TBMA on permanent display at the Smithsonian American Art Museum. Through this case study, I will highlight the potential of 3D models to document intricate interactions between audiovisual components, neon elements, and sculptural structures, while addressing the limitations of these techniques in capturing the dynamic essence of TBMA. CANCELED LECTURE: “Great Mongol Shahnama - Blue Pigments and Mixtures” Speaker: Matthew Clarke An in-depth research project into the pigments and materials of the Great Mongol Shahnama has been underway for several years. Here, a focus will be given to the characterization of the different blues and mixtures of blue pigments used in these illustrations, centering on the folios held by the National Museum of Asian Art. There are a range of combinations of lapis lazuli, azurite and indigo, plus lead-based whites in the different folio illustrations. Non-sampling technical analysis was performed through the microscopy, reflectance and Raman spectroscopy, and x-ray fluorescence. A comparison will be given of the different techniques and the visual range of blues seen across these fourteen paintings. Ring 3: Community Outreach “Beyond the Glass: Exploring Alternative Public Engagement Opportunities with the Visible Conservation of James Hampton’s The Throne of the Third Heaven of the Nations’ Millennium General Assembly” Speaker: Anna Nielsen James Hampton’s complex artwork The Throne of the Third Heaven of the Nations Millennium General Assembly at the Smithsonian American Art Museum (SAAM) has a storied history. Created by African American artist James Hampton between the 1930s and 1960s, this popular multi-piece sculpture has been shrouded in mystery and public conjecture since the artist’s untimely death from cancer in 1964. Since its acquisition in 1970, SAAM has proudly stewarded this artwork--comprised of well over 200 components constructed of found and repurposed materials that include furniture, paper, cardboard, lightbulbs, and silver- and gold-colored foils. Several campaigns of examination and conservation treatment have been conducted on about a third of the components of Hampton's Throne of the Third Heaven, however, the remaining components needed to be documented and researched. Through interdepartmental collaboration and curatorial direction, a project was launched in 2023 between SAAM’s Conservation and Registration departments to support the research needs of this collection. The project involved thorough examination, documentation, and research of Hampton’s technique, materials, and inspirations. This project provided a novel opportunity for SAAM to launch a public programming initiative for visitors to see the staff at work and learn more about James Hampton’s life and artistry. Since 2006, the Lunder Conservation Center has used its floor-to-ceiling glass walls to allow visitors to observe conservation processes in real time. However certain projects, such as James Hampton’s Throne of the Third Heaven, require specialized working conditions. From October to December of 2023, visitors were invited to enter a satellite conservation lab within the museum for a behind-the-scenes view of museum staff at work. In sum, 2,780 visitors viewed the work, treatments, and documentation in real- time over 20 open sessions. Visitors experienced firsthand how museum professionals care for this artwork by asking questions and engaging in dialogue about Hampton’s life and work. These interactions were aided by a liaison who tailored project introductions to each visitor based on a flow chart of questions. The program conveyed information to a broad audience, educated visitors, and, with input from the museum’s curator, dispelled misconceptions about the artist and his complex work. In exchange, SAAM staff gained insights into visitor perceptions of the artwork through these enriching conversations. This program was not possible without the dedication and collaboration of nearly every department in the museum. Participants in this session will learn how this behind-the-scenes project unfolded, amid an overarching museum effort to preserve, study, and better understand Hampton’s working methods and materials. Through different engagement methods, including tactile material examples, written didactics, live interpretation and archival photographs, a range of audience constituencies were able to learn about the project. This talk will showcase the lessons learned, challenges faced, and successes achieved through this multi-departmental collaboration, offering a compelling case study for other institutions interested in similar public engagement programs that bring art conservation and museum operations to a broad audience. “Home to Mi’kma’ki: A Shared Stewardship Project at National Museum of the American Indian” Speaker: Caitlin Mahony The National Museum of the American Indian (NMAI) is working in partnership with the Mi’kmawey Debert Cultural Centre (MDCC) to bring over 500 items back to the Mi’kmaw First Nations through a shared stewardship agreement that is part of the Smithsonian’s new Shared Stewardship and Ethical Return Policy. Conservation is underway to prepare for the opening of the Centre in 2027, where the items will be accessible to the community for learning, healing, and reconnection. The conservation approach is being guided by Mi’kmaq practitioners in beadwork, quill, and basketry who have made the trip from Nova Scotia to NMAI’s Cultural Resources Center six times this year to visit their belongings and to work in partnership with the conservation department on decisions around care. NMAI's conservation documentation for this project was developed to specifically address the needs of the community and project. This presentation will share specifics of this unique project to serve as an example of conservation in a shared stewardship initiative. “Supporting the Save Your Family Treasures Program after Hurricane Helene” Speaker: Leah A. Bright | Co-author: Brian Michael Lione In late September of 2024, Hurricane Helene ripped through western North Carolina, an area which had never experienced a hurricane of such magnitude. The storm was devastating for the region and severely impacted infrastructure as well as personal residences and properties. In the days and weeks following the hurricane, the Federal Emergency Management Agency (FEMA) coordinated relief efforts to support survivors of the disaster. These efforts included coordinating a collaborative FEMA/Smithsonian program entitled Save Your Family Treasures (SYFT). Established by the Smithsonian’s Cultural Rescue Initiative (SCRI), the SYFT program provides guidance and resources for survivors of disasters to salvage and stabilize their own meaningful belongings and heirlooms. Two Smithsonian employees, Leah Bright, Objects Conservator at the American Art Museum, and Brian Michael Lione, International Cultural Heritage Protection Program Manager at the Museum Conservation Institute, and were available for deployment to support the post-Hurricane Helen SYFT program in North Carolina. This presentation will highlight Lione and Bright's experiences as participants in the program, from their collaborations with FEMA staff to provide salvage demonstrations and recommendations, to the logistics of the project, including a surprise move into FEMA responder lodging. It will also outline their personal reflections on the significance and impact of the program as professionals working in different aspects of cultural heritage preservation. ------------------------------ Lindsay Cross Membership Secretary Washington Conservation Guild ------------------------------ 4.From: Kate Seymour Posted: Wednesday January 15, 2025 10:12 AM Subject: Call for Papers: ICOM-CC 21st Triennial Conference Message: Call for Papers: ICOM-CC 21st Triennial Conference Call for papers/posters icom-cc2026.org <https://icom-cc2026.org/call-for-papers-posters/> The International Council of Museums – Committee for Conservation (ICOM-CC) is pleased to announce the official Call for Papers for its 21st Triennial Conference, to be held in September 2026 in Oslo, Norway. The theme for this year's conference, "Cultural Connections in Conservation," offers a unique opportunity for conservation professionals from around the world to present innovative research, share expertise, and discuss groundbreaking projects. We invite you to submit an abstract to one of ICOM-CC's 21 specialized Working Groups and contribute to the advancement of the conservation field at this prestigious international event. Important Details: Poster abstract submissions will be invited later this year, following the conclusion of the first round of peer reviews for papers. All abstracts must be submitted using the designated abstract template via the Preprints Platform, accessible through our conference website. The Preprints Platform will open on 10 March 2025. All authors will be required to create a profile on the Preprints Platform to expedite the copyright transfer process once the selection process is finalized. Join us as we come together to inspire, connect, and collaborate in preserving our shared cultural heritage. #icomcc2026 <https://community.culturalheritage.org/search?s=%23icomcc2026&executesearch=true> #CulturalConnections #ConservationLeadership Kate Seymour Art Conservation Education Preserving Heritage, Shaping Tomorrow – Cultivating Expertise, Safeguarding Cultural Treasures. Email: [email protected] <[email protected]> Website: www.art-conservation-education.com <http://www.art-conservation-education.com> 5.From: Kaela Nurmi Posted: Wednesday January 15, 2025 2:52 PM Subject: Escal Supplier Message: Hello, Does anyone have a distributor for Escal, either in the US or can ship to the US relatively easily? We are in need of Escal for a few different projects soon, and are having difficulty procuring it. The Escal will be used both for anoxia treatment for pests and long-term anoxic housing for a latex rubber artwork, both need to be viewable without opening the package. If you have other suggestions of a low-permeability, transparent barrier film material that is suitable for anoxia, that would be great to hear about as well. Thank you! ------------------------------ Kaela Nurmi Objects Conservation Fellow Harvard Art Museums, Straus Center for Conservation and Technical Studies ECPN Chair CAN! Communications Chair ------------------------------ 6.From: Carolyn Riccardelli Posted: Wednesday January 15, 2025 2:53 PM Subject: RE: Business as usual? Updates on the Los Angeles Wildfires? Message: Full disclosure that I'm not a conservator affected by the Los Angeles fires, but thought I would chime in to respond. Because the city is in an active state of emergency, with fires still spreading in multiple locations, I'm sure the conservation community (and all Angelenos) are managing their personal lives, trying to stay out of harm's way, and caring for themselves and their loved ones. Some of them have lost all of their possessions and are facing starting over from scratch. It will be some time before the recovery of cultural heritage will be addressed, but the time will come. I have been following many informative updates from various institutions and members of the conservation community on social media platforms, which is probably the best place to gather up-to-the minute information. When the active event passes into response and recovery phases, I'm sure we'll hear more from our colleagues. For now, I'm wishing everyone in the Los Angeles region safety and strength in the coming days and weeks. ------------------------------ Carolyn Riccardelli Conservator Objects Conservation 212 396 5498 The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY 10028 @metmuseum metmuseum.org ------------------------------ ------------------------------------------- Original Message: Sent: 01-14-2025 13:45 From: Christian Mueller-Straten Subject: Business as usual? Updates on the Los Angeles Wildfires? Dear all, Somehow I miss the voices of the restorers on the LA Wildfires in this forum. Christian ------------------------------ [Christian] [Mueller-Straten] [Researcher, Publisher, Art Historian] [Owner] [Verlag Dr. Christian Mueller-Straten] [Munich] [Germany] [0049-89-839 690 43] [https://www.museum-aktuell.de] https://www.museum-aktuell.de/CEO <https://www.museum-aktuell.de/CEO> ------------------------------ You are subscribed to "Global Conservation Forum (ConsDistList)" as [email protected]. To change your subscriptions, go to http://community.culturalheritage.org/preferences?section=Subscriptions. To unsubscribe from this community discussion, go to http://community.culturalheritage.org/HigherLogic/eGroups/Unsubscribe.aspx?UserKey=d16eaa87-0f69-494b-9f2f-303dbc1222e1&sKey=fab9aa4f27a04c5d876e&GroupKey=757a8f16-505f-4323-8e74-e376757aa9f7.
