Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. Identification of plastic materials & their conservation: A conversation with Brenda Keneghan 2. TCC@50 Registration OPEN 3. Invitation to Participate in the InBloom Survey on Blooming in Coated Fabrics 4. New Webinar: Strategic Planning in Collections Care 5. Call for Volunteers - NATCC 2025 ------------------------------------------------------------------------------------------------------------ 1.From: Bethany Smith Posted: Tuesday April 1, 2025 9:11 AM Subject: Identification of plastic materials & their conservation: A conversation with Brenda Keneghan Message: The upcoming short course Identification of Plastic Materials <https://www.westdean.ac.uk/short-courses/m2d34380-identification-of-plastic-materials> is being held at West Dean in West Sussex, UK, from 13-14 May with Modern Materials Conservation Consultant Brenda Keneghan <https://www.westdean.ac.uk/tutors/brenda-keneghan>. Ahead of the course, Brenda tells us about the historical development of plastics, the future of plastic artefacts in museums, and the challenges and considerations facing plastic preservation. Can you provide insights into the historical development of plastics and how their profile has evolved over time? Although most people think that plastics are a relatively new phenomenon, they were in fact invented almost two centuries ago in the mid-19th century. A common misconception is that plastic is a single material. In fact, there are very many different types of plastics with differing properties. The first materials created were semi-synthetic imitators of natural materials. These semi-synthetics such as Cellulose Nitrate were made by chemically modifying natural materials like cellulose. Cellulose Nitrate was used to imitate natural materials such as ivory, amber, tortoiseshell, etc, which were becoming rarer and thus more expensive. The first completely synthetic plastic was Bakelite, invented in the early part of the 20th century. Most people are familiar with this dark material which was used in many electrical appliances like radios and clocks because it had very good insulating properties. The disadvantage of Bakelite, however, was that it could only be produced in dark colours. This disadvantage was soon overcome and although plastics have since developed into materials in their own right, they are still often dogged by a reputation as imitators and/or shoddy materials. In general, they are not given the same respect as naturally occurring materials. More recently plastics have been demonised for their contribution to environmental problems. But people forget the great contribution that plastics have made in many fields including healthcare, communications and electronics, to name but a few. How do plastics commonly occur in heritage collections, and what are some significant considerations for conservators and curators regarding their preservation? Plastics are found in almost all heritage collections ranging from ethnographic to modern art. They are very commonly found in art and design collections, fashion, toys, transport, archives. In fact, it is rare to find any collection without some plastic component. Despite being viewed as "lasting forever" and being the cause of environmental concerns, certain plastics do degrade. As stated above early plastics were often produced to imitate natural materials. Thus, curators are not always aware that they may have plastics in their collections. Unfortunately, it is these early semi-synthetic materials which often degrade. Their degradation is often accompanied by the production of acidic vapours which may cause damage to other objects in their vicinity. It is essential, therefore, to make people aware of the many guises of plastic materials, their potential instabilities and the dangers these may pose for other objects in collections. In your experience, why is it important to identify plastic materials, and how can understanding their vulnerabilities help in protecting heritage collections? As already stated there are very many different kinds of plastics and they have different stabilities - the early semi-synthetics being most vulnerable to degradation. Curators may not be aware of the existence of plastics in their collections. Many surveys have been undertaken over the past 25 years which have demonstrated that there are 5 plastic materials commonly found in collections which degrade regardless of what form the object takes. Some of this degradation can be detrimental to other objects or even to the fabric of the cases they are stored or displayed in. Therefore, it is important to know what materials are in your collections. If you have objects made from unstable plastics, controlling the environment can slow down degradation and extend the lifetime of the objects. If they have visibly degraded then they should be isolated from the general collection. Could you share examples from collections you have worked on that illustrate the importance of plastics in collections and the challenges around its conservation? I once worked with a collection of objects from theatre and performance. The collection included costumes and props. The curator was unconcerned and had previously informed me that there were no plastics or problems with plastic in their collection. I was highly sceptical especially as theatrical props were often made with cheap materials and not designed to last much after the performances. The curator called me and asked me for advice concerning an object she had found in storage. It was a decorative necklace with very large "amber" beads. Some of these beads had become dense and "sugary" in appearance. Some had broken into pieces. Metal components had become corroded. The acid-free tissue wrapping the object was shredded into small pieces. The cord holding the object together was broken and all the elements were loose in the box. The object had been made in 1927 and the beads were made from Cellulose Nitrate which had degraded and off-gassed acidic vapours. These acidic vapours had caused the damage to the components and the packaging. It was too late to save this object but it was an extremely good example of curators being unaware of the materials in their collection and the damage that plastic may cause. Considering the prevalence of plastics in contemporary society, how do you envision museums navigating the acquisition and curation of plastic artifacts in the future? I think the most important issue when acquiring a plastic object is the know the exact composition – i.e. what plastic it is made from. This allows informed decisions to be made. Different plastics may require storage and display at different environmental conditions. If the nature of the material is known, then a prediction of the potential lifetime and/ or future conservation costs necessary can be made. Some plastics have a predicted lifetime of ~ 50 years. This is significantly less than lifetimes of more traditional materials. As budgets shrink, museums may decide not to acquire all objects with such short lifetimes that may incur future costs. Methods of recording some of these objects may be the preferred option over acquisition. As plastic artifacts continue to age and degrade, what are the most pressing challenges museums will face in conserving and preserving these materials for future generations, and how do you envision the field of conservation adapting to address these challenges? In addition to the materials degrading naturally, we are now faced with biodegradable plastics – that is those designed to degrade. Although not produced for artworks, it is inevitable that artists will use these materials to produce works. So, conservators will be faced with this additional problem. There is also the current issue of production by 3D printing methods. We do not know if this method introduces any weakness into the objects. It is an area that needs research. An area of current research is the use of nano-membranes to protect objects and works of art. These membranes have the potential to protect plastics against uv light degradation. I think that in general the preservation of plastics may take a different approach to that of other materials. "Preventive conservation" by controlling the environment may be the only possible approach for these unstable materials. Also, the accepted premise of treatment reversibility may not be possible for some experimental approaches. What should people expect from the Identification of Plastic Materials course <https://www.westdean.ac.uk/short-courses/m2d34380-identification-of-plastic-materials>? What will the course involve, what might they learn and how can this be applied in their professional practices? The aim of the course is to enable anyone working in collections to identify the 5 unstable plastics that might be present amongst their objects, without using analytical instrumentation. Identification will be demonstrated by observing and handling objects. No previous knowledge of plastics is required. The course will consist of presentations, lab demonstrations and practical handling/identification sessions. By the end of the course the participants should be able to assess their collections and identify any potentially harmful plastics. They will approach a collections care system based on the knowledge they have gained from the course. This will enable them to put preventive measures in place if necessary. Two day short course: Identification of Plastic Materials <https://www.westdean.ac.uk/short-courses/m2d34380-identification-of-plastic-materials>, 13-14 May with Brenda Keneghan Through lectures and using examples from the West Dean Collection and a handling collection, you will see how plastic materials were first introduced to the world and how their profile has changed over time. By the end of the course you will have learned about the historical development of plastics, where they commonly occur in collections, and have an awareness of their varying instabilities. The need to identify will be demonstrated and different approaches to identification will be discussed. Through a practical examination session, you will develop your awareness of the variety of plastics materials available and their different properties which may aid identification. You should also be able to identify the five most unstable materials and thus protect your collection. ------------------------------ West Dean College, West Dean, Chichester, West Sussex, PO18 0QZ UK ------------------------------ 2.From: Joanne Hackett Posted: Tuesday April 1, 2025 9:11 AM Subject: TCC@50 Registration OPEN Message: 2025 marks the 50th anniversary of the establishment of the Textile Conservation Centre at Hampton Court Palace. Whilst its physical location and name have changed, its core aim has remained the same: to educate textile conservators in a dynamic and professional teaching, practice and research environment. Using this significant milestone as a launching point, the conference seeks to celebrate and challenge the diversity, maturity and creativity of our profession. We will explore the many facets of the profession, looking to the future whilst also responding to the legacy of the past and exploring our relationship with others. The 2-day hybrid conference will comprise presentations, posters and round table discussions involving established and early career speakers from around the world. Tickets and further information on the programme of speakers can be found here: TCC@50 : Building on 50 Years of Training, Practice and Research <https://www.icon.org.uk/events/tcc-50-building-on-50-years-of-training-practice-and-research.html> Come join us in Glasgow, or online ------------------------------ Joanne Hackett Lecturer in Textile Conservation University of Glasgow Kelvin Centre for Conservation and Cultural Heritage Research Pinner United Kingdom ------------------------------ 3.From: Sarah Scaturro Posted: Tuesday April 1, 2025 12:18 PM Subject: Invitation to Participate in the InBloom Survey on Blooming in Coated Fabrics Message: Dear Colleagues, I'm posting this request for participation in a survey about blooming in coated fabrics on behalf of Susana Sá and other colleagues involved with the InBloom research project. <https://sites.fct.unl.pt/inbloom> ------------------------------------------ Dear all, I am reaching out to invite you to participate in a survey as part of InBloom, an interdisciplinary research initiative (2025–2026) investigating blooming in coated fabrics. This project focuses on the conservation of coated fabrics-such as imitation leathers, fabrics with glossy and metallic finishes, waterproof textiles, and technical fabrics-particularly those affected by blooming. Blooming appears as white crystalline deposits on the surface, altering both aesthetics and material integrity. This issue was identified in a significant percentage of coated fabrics in museum collections during the Glossy Surfaces research project (2020-2023) <https://www.momu.be/en/dries-van-noten-study-center#glossy-surfaces>. We would greatly appreciate your participation in our survey, which aims to: - Identify the presence of blooming in collections; - Determine its prevalence in polyurethane-coated fabrics; - Assess conservation treatments applied, their effectiveness, and whether blooming is influencing curatorial decisions. Your input will be invaluable in helping us better understand this issue, develop conservation strategies, and raise awareness about how to address it effectively. If you are unfamiliar with blooming, the survey includes visual and textual explanations. The survey is completely anonymous and takes only 10 minutes to complete. [https://docs.google.com/forms/d/e/1FAIpQLSe5HquHrWBuaUSHj0JSBYp9o50ZJ33UuFp19oak8tWEQ8H-Zg/viewform?usp=header. <https://nam11.safelinks.protection.outlook.com/?url=https%3A%2F%2Fdocs.google.com%2Fforms%2Fd%2Fe%2F1FAIpQLSe5HquHrWBuaUSHj0JSBYp9o50ZJ33UuFp19oak8tWEQ8H-Zg%2Fviewform%3Fusp%3Dheader&data=05%7C02%7CSScaturro%40clevelandart.org%7C621e086d8ef04e3fee3c08dd70642568%7Cb4253cf323c34e23b1510c32273cd7c5%7C0%7C0%7C638790297666193044%7CUnknown%7CTWFpbGZsb3d8eyJFbXB0eU1hcGkiOnRydWUsIlYiOiIwLjAuMDAwMCIsIlAiOiJXaW4zMiIsIkFOIjoiTWFpbCIsIldUIjoyfQ%3D%3D%7C0%7C%7C%7C&sdata=1japzm0uxAOc0yG%2FgRhmDL2i0fMIqQOzfMEk2ULb3iM%3D&reserved=0> Click or tap if you trust this link." data-linkindex="0" style="border: 0; margin: 0; padding: 0; vertical-align: baseline" target="_blank" rel="noopener">survey link here] Thank you in advance for your time and contribution! Best regards, Susana Sá and InBloom's team ------------------------------ Sarah Scaturro, PhD Eric and Jane Nord Chief Conservator Cleveland Museum of Art Cleveland United States ------------------------------ 4.From: Kaslyne O'Connor Posted: Tuesday April 1, 2025 2:26 PM Subject: New Webinar: Strategic Planning in Collections Care Message: New Webinar: Strategic Planning in Collections Care Tuesday, April 29. 2025 from 14h00 - 15h00 EDT Presented by the Canadian Association for Conservation of Cultural Property, this lecture will examine the differences and connections between strategy and planning and how these concepts can effectively be applied to care for heritage collections. With Collections Care Advisor Andor Vince, we will explore various tools to assist in strategic decision-making and discuss how to translate these strategies into a meaningful collections care plan. Registration: free to CAC members, 10$ for non-members This event will be presented in English. This event will not be recorded. Instructor: Andor Vince is a Collections Care Advisor with expertise in developing collections care strategies and plans, emergency and risk management, and implementing cost-effective projects. He has a Master of Arts in Preventive Conservation from Northumbria University (UK) and a Bachelors in Archaeology from Belgrade University. He also holds a diploma in Positive Organisational Psychology from the Positive Psychology Guild (UK) and a Post-Graduate Diploma in Furniture Conservation and Restoration from West Dean College (UK). Andor holds a Certificate in Programme and Project Management from the Chartered Management Institute (UK), a Level 3 Award in Leadership and Management from the Institute of Leadership and Management (UK), and a Certificate in Managing Risks for Collections from ICCROM. He has been a visiting lecturer at University College London, Camberwell College of Arts, and is a visiting lecturer at West Dean College, UK. He runs courses in collections care worldwide. Visit the CAC websit <https://cac-accr.us11.list-manage.com/track/click?u=140bd8b40163a5a750a2ec69a&id=0e5f6694a4&e=0ae54d0e68>e <https://cac-accr.us11.list-manage.com/track/click?u=140bd8b40163a5a750a2ec69a&id=6e37ea6277&e=0ae54d0e68> to register and find more information and to register. Questions? Contact [email protected] <[email protected]>. 5.From: Camille Lafrance Posted: Tuesday April 1, 2025 5:47 PM Subject: Call for Volunteers - NATCC 2025 Message: The 15th Biennial North American Textile Conservation Conference (NATCC), hosted in Banff, Canada, from September 15 to 19, 2025, has released its program of papers to be presented at the conference on its website! Home - NATCC <https://www.natcconference.com/> The workshops and tours to be held on Sept 15 and 16 will be released shortly. Save the date and plan to travel in time for the workshops! Registration for the conference will be available soon. The local planning committee of the NATCC 2025 is looking for two to three volunteers to help with the organization of the event. We are looking for volunteers to help with: Finding sponsors. The organization of the trade / craft fair hosted at the Banff Centre during the conference i.e. finding vendors and exhibitors. The preparation of a local travel guide for conference attendees. The preparation of the totes for attendees. Volunteers will be given free registration to the conference. Volunteers will be responsible for their own travel, accommodation, and miscellaneous expenses. If you are interested in joining the planning committee, contact Gail Niinimaa, NATCC Conference Chair, at [email protected] <[email protected]>, or Camille Lafrance, member of the organization committee at [email protected] <[email protected]>, state why you would be interested in volunteering and how you could help us! ------------------------------ Camille Lafrance Associate Conservator City of Calgary Public Art Program Calgary Canada ------------------------------ 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 https://community.culturalheritage.org/HigherLogic/eGroups/Unsubscribe.aspx?UserKey=d16eaa87-0f69-494b-9f2f-303dbc1222e1&sKey=fab9aa4f27a04c5d876e&GroupKey=757a8f16-505f-4323-8e74-e376757aa9f7.
