Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. Registration still possible:Next Series of Hornemann Institute's Online Courses (28 April - 22 June 2025) 2. IAPesp seminar: Sedas cargadas: causas de degradación y retos para su conservación 3. Questionnaire Regarding Technologies for the Conservation of Cultural Heritage 4. RE: Removing dye from ivory handles 5. job posting- Associate Paintings Conservator or Paintings Conservator at the Menil Collection 6. Session 2 of Workshop on the Care and Preservation of Time-Based Media Art in Latin America (TBMA in Latam) ------------------------------------------------------------------------------------------------------------ 1.From: Angela Weyer Posted: Thursday March 27, 2025 5:00 AM Subject: Registration still possible:Next Series of Hornemann Institute's Online Courses (28 April - 22 June 2025) Message: Registration for our Online Courses is still possible Registration deadline: 9 April The following online courses will start on 28 April 2025: in English: Microbial Infestation of Objects of Art and Cultural Heritage How to Safely Handle Contaminated Cultural Heritage Mould and Documents Church Rooms and their Climate. Heating, Ventilation, Equipment Protection Consolidation of Wood. Possibilities and Limits of Structural Consolidation How Should We Act? Theory and Ethics of Conservation and its Significance in Practice (Renaissance and Baroque Periods) Photography as a Tool for Documentation and Examination Restoration Theories and Methods from 1945 to the Present Day The Examination of Transparent Coatings on Furniture and Wooden Objects Conservation of Globes in Spanish (tutoring in English): Teorías y Métodos de Restauración desde 1945 hasta la actualidad in German (tutoring in English): Saccharidische Bindemittel und Kleber (Saccharide Binding Media and Adhesives) Grundlagen der Holzkunde: Eigenschaften - Verwendung - Schäden - Untersuchungsmethoden erläutert am Beispiel von Eichenholz (Basic Wood Science: Properties - Use - Damage - Examination Methods Explained by the Example of Oak) Schädigung von Kulturgut durch Salze (Damage to Cultural Heritage from Salt) Erhaltung von Wachsmoulagen (Conservation of Wax Moulages) Certificate: Participants will receive a qualified Hornemann Institute certificate upon successful completion of the program and passing of the final online examination. Tutor: During the term of the course, the conservator Kasandra Wirth M. Sc..is available to all participants via e-mail. The Online Courses of the Hornemann Institute of the HAWK / University of Applied Sciences and Arts in Hildesheim (Germany): These online courses have been conceptualised for individuals dedicated to cultural heritage preservation. Via Internet, you can retrieve the subject matters of your choice, irrespective of any temporal or geographical constraints, thereby avoiding time loss at work and saving travelling expenses. The modules facilitate individual studying with regard to time management, learning speed and the depth of knowledge you wish to achieve. You can check your personal progress with the help of tests. While solving test problems, you can use your acquired skills. Subject matters have been put into multi-media form, i.e., texts are enlivened by images, videos, checklists, etc. The didactic variety and the interactivity will boost your motivation. Glossaries, bibliographical references and the integration of available internet resources will supplement the teaching materials. The tutor will assist you whenever you encounter technical or content-related difficulties. For application and more information see our website <https://hornemann-institut.hawk.de/en/online-courses>. ------------------------------ Dr. Angela Weyer Institute Director, Hornemann Institute of the HAWK University of Applied Sciences and Arts Hildesheim/Holzminden/Göttingen ------------------------------ 2.From: James Black Posted: Thursday March 27, 2025 4:12 PM Subject: IAPesp seminar: Sedas cargadas: causas de degradación y retos para su conservación Message: Tutor: Laura Garcia Vedrenne Date: Tuesday, 8 April 2025 Language: Spanish Time: Madrid 6pm, Buenos Aires 1pm, Lima 11am, Mexico City 10am Platform: Zoom Price: £10 Registration: Eventbrite <https://www.eventbrite.co.uk/e/1272275984719?aff=oddtdtcreator> La degradación acelerada de las sedas cargadas representa una problemática para la conservación de textiles. Las sedas cargadas suelen mostrar efectos de deterioro en forma de rasgaduras, patrones de quiebres y fibras pulverulentas, aunque no siempre es posible identificar el acabado a simple vista. En esta sesión se abordarán los retos y las limitaciones existentes en la preservación de tejidos de seda con cargas metálicas a través de revisiones bibliográficas, cuestionamientos éticos y casos de estudio. Laura Garcia Vedrenne es conservadora-restauradora de textiles e indumentaria en los Fine Arts Museums of San Francisco (FAMSF), que incluyen el de Young Museum y el Legion of Honor. Obtuvo la maestría en conservación de textiles en el Centre for Textile Conservation and Technical Art History (CTC-TAH) de la Universidad de Glasgow y la licenciatura en restauración de bienes muebles por la Escuela de Conservación y Restauración de Occidente (ECRO). Cuenta con más de una década de experiencia en el campo de la conservación-restauración, trabajando en Estados Unidos, México, Reino Unido y España. Entre sus temas de interés se encuentran los textiles como cultura material, la conservación de indumentaria histórica y la ética en la conservación-restauración. ------------------------------ James Black Co-ordinator International Academic Projects London www.academicprojects.co.uk ------------------------------ 3.From: Jenny Anagnostopoulou Posted: Thursday March 27, 2025 4:13 PM Subject: Questionnaire Regarding Technologies for the Conservation of Cultural Heritage Message: I am writing to you on behalf of Holometrica <https://holometrica.com/>, a startup company dedicated to innovation in the preservation of cultural heritage and artworks. We have developed an exciting product, SafeRay4Art, which utilizes cutting-edge DHSPI technology, pioneered by Dr. Vivi Tornari and IESL-FORTH <https://www.iesl.forth.gr/>, one of our co-founders. We are seeking experienced professionals to complete a questionnaire regarding Technologies for the Conservation of Cultural Heritage. Your expertise and feedback will be invaluable in shaping our product, which aims to transform the conservation sector from reactive restoration to proactive preventive conservation. Attached, you will find more detailed information about the capabilities of our product, along with a link to complete the questionnaire. If you are aware of any professionals or associations who might be interested in participating or joining our user group as potential lead customers, we would greatly appreciate your recommendations. Thank you for your support in advancing innovative solutions in cultural heritage preservation. With Kind Regards, ------------------------------ Jenny Anagnostopoulou Co-Founder & CEO Holometrica Amsterdam Netherlands ------------------------------ 4.From: George Schwartz Posted: Thursday March 27, 2025 4:13 PM Subject: RE: Removing dye from ivory handles Message: Look into Jacquardproducts.com decolourant. Not on-label use, but worth considering. Also companies like Tintex, Rit, have products to consider, and of course, hydrogen peroxide and sunlight. Sometimes color shift disappears with pH variations. Good luck! George ------------------------------ George Schwartz Principal, Senior Conservator ConservArt, Inc. Boca Raton FL [email protected] Chair CIPP 2011-2013 Conservators in Private Practice ------------------------------ ------------------------------------------- Original Message: Sent: 03-14-2025 11:29 From: Kirsty Clark Subject: Removing dye from ivory handles Hello, I am currently conserving a set of instruments with ivory handles. They were damaged in a leak, and the dye from the case was transferred onto the ivory. We have managed to remove some of the dye but it is still pretty obvious. We have tried humidifying, IDA and WA paste, but it has not removed the dye. I was hopping that someone may have more experience and ideas into what could be done to remove the dye. Thank you, ------------------------------ Kirsty Clark London United Kingdom ------------------------------ 5.From: Corina Rogge Posted: Thursday March 27, 2025 4:14 PM Subject: job posting- Associate Paintings Conservator or Paintings Conservator at the Menil Collection Message: Dear friends and colleagues, I am excited to post the following employment opportunity at the Menil collection! If you have any questions about this position or would like to discuss this opportunity, please don't hesitate to reach out to me via email at [email protected] <[email protected]>. Title: Associate Paintings Conservator or Paintings Conservator Department: Conservation Reports to: Director of Conservation Status: Full-time; exempt from overtime Work location: On-site Application deadline: Application review for this position will begin on May 5, 2025, and continue until the position is filled. Annual salary: Associate Paintings Conservator $70 - 75,000 Paintings Conservator $80 - 95,000 The Menil Collection in Houston, Texas, is seeking an Associate Paintings Conservator or Paintings Conservator to join the Department of Conservation, which consists of a Director of Conservation, four full-time conservators, a shared Andrew W. Mellon Postdoctoral Fellow in Conservation Science (together with the Museum of Fine Arts, Houston), a Conservation Imaging Specialist, a Matter/Framer, an Andrew W. Mellon Fellow in Object Conservation, a Paper Conservation Technician, an Artists Documentation Project Archivist, and two support staff. Integrated within the iconic Renzo Piano- designed Menil Collection, the conservation facilities comprise shared and dedicated studios for the conservation of paintings and objects as well as analysis and imaging. The paper conservation lab is in the Menil Drawing Institute, a separate building on the Menil campus. Since its founding in 1987, the Menil Collection Conservation Department has distinguished itself by publishing research on treatments and materials. Notably, the department maintains an ongoing commitment to collaborating with living artists, as evidenced by the Artists Documentation Program (ADP), which aims to enhance understanding of artists' materials, working techniques, and intentions through recorded interviews. General Responsibilities The Associate Paintings Conservator or Paintings Conservator undertakes treatments, condition assessments, environmental monitoring, and research related to the care and preservation of paintings and painted objects in the care of the Menil Collection. The Associate Paintings Conservator or Paintings Conservator will also supervise technicians, interns, and contract workers as needed. All work must be performed in accordance with the American Institute for Conservation's Code of Ethics and Guidelines for Practice. Specific Duties 1. Follow both departmental standards and the AIC Code of Ethics and Guidelines for Practice, and collaborate with Conservation Department staff and other departments in the museum (namely Matting/Framing, Conservation Photography, Conservation Science, Exhibition Design, Art Handling, Curatorial, Registration, and Facilities) to: • Document and preserve paintings in the care of the Menil Collection, including condition reporting, treating, performing technical studies, monitoring environmental conditions, responding to incidents, and other activities as required. • Advise curators on the condition of paintings considered for acquisition. • Prepare paintings for exhibition or loan, including advising on handling, storage, display, and packing requirements; recommending light, humidity, and temperature limits; coordinating framing and photography; serving as conservation liaison for select temporary exhibitions; and performing occasional domestic and international courier duties. • Engage with artists, their studio assistants, or estates to document working practices, materials, installation parameters, and views on conservation for the Artists Documentation Program. 2. Participate in the upkeep of the painting conservation studio, advising on equipment upgrades. 3. The Associate Paintings Conservator will participate in, and the Paintings Conservator will lead the planning, policy establishment, and budgeting of the paintings studio. 4. Represent the Conservation Department on select internal committees and working groups. 5. Serve on the Menil Emergency Response team as the conservation point person for a designated campus building. 6. Contribute to outreach efforts, including public and membership programming, social media posts, and short website features. 7. The Associate Paintings Conservator may, and Paintings Conservator will develop and lead projects such as research symposia, grants, or workshops in consultation with the Director of Conservation. 8. The Paintings Conservator will partner with the Director of Conservation to develop strategic, multi-year goals and priorities for the conservation of the Museum's collection of paintings. 9. Pursue professional development and scholarly endeavors in the conservation field, taking advantage of available professional development funds to attend meetings or workshops, give lectures, or publish research. 10. Work with departments across the Museum to foster an environment of excellence, improve collaboration and communication, and update procedures and policies based on new data and information. 11. Perform other duties as assigned by the Director of Conservation, according to priorities. Qualifications 1. A master's degree from a recognized art conservation program with a specialization in paintings is required, along with substantial practical experience and the ability to develop and undertake innovative treatments. 2. 5-8 years of postgraduate experience is required for an Associate Paintings Conservator; 8+ years of postgraduate experience is required for a Paintings Conservator. 3. A broad knowledge of traditional materials and techniques is expected, but a demonstrable interest in treating modern and contemporary art is preferred. Paintings Conservator candidates should have a record of independent or lead author professional publications and/or presentations. 4. Excellent verbal and written communication skills. 5. Proven experience collaborating in a team environment and preferred experience supervising interns, fellows, or conservators, particularly at the Paintings Conservator level. 6. Paintings Conservator candidates should have proven ability to prepare and manage budgets. 7. Strong interpersonal and organizational skills, as well as the ability to prioritize and work independently, are essential. Benefits The position comes with a comprehensive benefits package that includes paid vacation and sick time, medical and dental insurance, life insurance, AD&D, and LTD coverage. Employees may also participate in the Menil's 401(k) plan and receive an employer contribution equivalent to 5% of wages earned after one year on the job. How to Apply Please send a curriculum vitae, contact information for three professional references, and a cover letter indicating the position for which you are applying (Associate Paintings Conservator or Paintings Conservator) to: Human Resources The Menil Collection 1511 Branard Street Houston, Texas 77006 Application materials may also be emailed to [email protected] <[email protected]> International applicants are welcome. The Menil Collection is an Equal Opportunity Employer and seeks diversity in its workforce. The Menil is committed to attracting, retaining, developing, and promoting the most qualified employees without regard to race, color, religion, sex, age, national origin, disability status, genetics, protected veteran status, sexual orientation, gender identity, or expression, or any other characteristic protected by federal, state, or local laws. ------------------------------ Corina Rogge Director of Conservation The Menil Collection Houston United States ------------------------------ 6.From: Adrian Hernandez Posted: Thursday March 27, 2025 4:14 PM Subject: Session 2 of Workshop on the Care and Preservation of Time-Based Media Art in Latin America (TBMA in Latam) Message: [cross-posting] This message is in Spanish, Portuguese, and English ============================================================== SPANISH Estimades colegas, El Conservation Center de la New York University se complace en anunciar que presentará la segunda sesión del Taller sobre el cuidado y la preservación de arte multimedia de duración temporal ("time-based media art") en Latinoamérica (TBMA en Latam). La segunda sesión de este taller en tres partes se centrará en cuatro estudios de caso en Latinoamérica con ponentes de Uruguay, Argentina, Brasil y Colombia. La Sesión 2 se realizará a través de Zoom el 7 de abril y tendrá una duración de tres horas, comenzando a las 09:00 (Ciudad de México, UTC-6) / 10:00 (Bogotá, UTC-5) / 11:00 (Nueva York, UTC-4) / 12:00 (São Paulo, UTC-3). El evento es gratuito y abierto al público. Las presentaciones serán en español y portugués con interpretación en directo al español, portugués e inglés. Encontrarán más información sobre el evento en nuestro sitio web <https://ifa.nyu.edu/conservation/tbm-latin-america-es.htm>. Si asistió a la sesión 1 y nos envió su correo electrónico, ya ha recibido el enlace RSVP para la sesión 2. Si no asistió a la sesión 1, vaya a nuestro sitio web <https://ifa.nyu.edu/conservation/tbm-latin-america-es.htm> y haga clic en el botón "RSVP" debajo del encabezado de la "Sesión 2" e introduzca su información para recibir el enlace Zoom para nuestro evento. Es necesario registrarse. Le agradeceríamos mucho que compartiera el siguiente anuncio con otres colegas en Latinoamérica que cuidan colecciones que puedan contener arte multimedia. Muchas gracias. ============================================================== PORTUGUĒS Prezados colegas, O Conservation Center da Universidade de Nova York tem o prazer de anunciar que realizaremos a segunda sessão do nosso Workshop sobre cuidado e preservação de arte multimídia (time-based media art) na América Latina (TBMA na Latam). A segunda sessão desse workshop de três partes se concentrará em quatro estudos de caso da América Latina, com palestrantes de Uruguai, Argentina, Brasil e Colômbia. A sessão 2 será realizada no Zoom em 7 de abril, com duração de três horas, começando às 09:00 (Cidade do México, UTC-6) / 10:00 (Bogotá, UTC-5) / 11:00 (Nova York, UTC-4) / 12:00 (São Paulo, UTC-3). O evento é gratuito e aberto ao público. As palestras serão em espanhol e português com tradução simultânea para espanhol, português e inglês. Mais informações sobre o evento podem ser encontradas em nosso site <https://ifa.nyu.edu/conservation/tbm-latin-america-pt.htm>. A inscrição é obrigatória. Por favor, confirme sua presença em nosso site. Se você participou da sessão 1 e nos forneceu seu e-mail, você já recebeu o link de RSVP para a sessão 2. Caso não tenha participado da sessão 1, acesse nosso site <https://ifa.nyu.edu/conservation/tbm-latin-america-pt.htm> e clique no botão RSVP abaixo do cabeçalho da "Sessão 2" e insira suas informações para receber o link do Zoom para o nosso evento. Ficaremos muito gratos se você puder compartilhar o seguinte anúncio com colegas que trabalham com arte multimídia na América Latina. Muito obrigado! ======================================================== ENGLISH Dear Colleagues, The Conservation Center at New York University is happy to announce that we will be hosting the second session of our Workshop on the Care and Preservation of Time-based Media Art in Latin America (TBMA in Latam). The second session of this three-part workshop will focus on four case-studies in Latin America with speakers from Uruguay, Argentina, Brazil, and Colombia. Session 2 will be held on Zoom on April 7th for three hours, starting at 09:00 (Ciudad de México, UTC-6) / 10:00 (Bogotá, UTC-5) / 11:00 (New York, UTC-4) / 12:00 (São Paulo, UTC-3). It is free and open to the public. Lectures will be in Spanish and Portuguese with live interpretation to Spanish, Portuguese, and English. More information about the event can be found on our website <https://ifa.nyu.edu/conservation/tbm-latin-america.htm>. Registration is required, so please RSVP. If you attended session 1 and provided us your email, you have already received the RSVP link for session 2. If you did not attend session 1, please go to our website <https://ifa.nyu.edu/conservation/tbm-latin-america.htm> and click on the RSVP button below the "Session 2" header and enter your information to receive the Zoom link for our event. We would greatly appreciate it if you would share the following announcement with colleagues in Latin America who care for collections that may contain time-based media art. Thank you! ------------------------------ Adrian Hernandez Graduate Fellow (Class of 2026) NYU Institute of Fine Arts, Conservation Center New York United States ------------------------------ You are subscribed to "Global Conservation Forum (ConsDistList)" as [email protected]. 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