Global Conservation Forum (ConsDistList) Digest for Tuesday June 24, 2025

[AIC and FAIC]

Email digest for the Global Conservation Forum (ConsDistList) egroup.
------------------------------------------------------------------------------------------------------------

 1. Deadline Approaching - Paid Summer Internship

 2. Critical Conservation | Research jobs in a Swiss National Science 
Foundation project at HKB Bern

 3. Ceramic on Display- an introduction to custom mounts for ceramic and glass 
with Dauphin

 4. RE: Museum Wax

 5. Join AIC - summer discounts for new and international members

 6. Remote Tibetan Plateau Monastery Conservation Work in Qinghai

 7. RE: Museum Wax

------------------------------------------------------------------------------------------------------------

1.From: Ann-Marie Miller
 Posted: Monday June 23, 2025  7:57 AM
 Subject: Deadline Approaching - Paid Summer Internship
 Message: Deadline Approaching Paid Paper Conservation Intern 2-3 days per 
week, Summer 2025 
  An Impact Heritage CIC Project hosted by Codex Conservation Ltd (Private 
Workshop, South East London)
   
  Are you looking for a short term, conservation internship for this summer? We 
are hosting an exciting project funded by the Pilgrim Trust for Impact Heritage 
CIC. You are an emerging conservator specialising in archival works on paper 
and will be responsible for leading the project both in terms of the practical 
work and project management. You will work alongside experienced and accredited 
conservators in a private conservation workshop. 
   
  Must be passionate about working with archival material and keen to learn. 
There will be an emphasis on high quality practical skills and good written and 
verbal skills are a must. Pay is 20 per hour, on a freelance basis. This part 
time role is flexible hours can be arranged to suit.
   
  Key skills required:
         High level practical skills are essential, with excellent attention to 
detail.
         Qualification in Book and Archives Conservation, or relevant 
professional experience (minimum 2 years).
         Experience of time management and record keeping. This should include 
photographic documentation, condition reporting and estimating.
         Demonstrable experience of a range of conservation treatments.
         Able to work independently and as part of a small team. Strong 
communication skills are a must.
         Confident using MS Office and online project management tools.
         Permission to work in the UK.
   
  How to apply: 
  Please send a few images of your work, along with your
  CV and a cover letter and 2 references to ann-ma...@codexconservation.com 
<ann-ma...@codexconservation.com>
  Please write Conservation Intern Application in the subject line of your 
email.
   
  Deadline: 25.06.25




      
45 Belvedere Road, London, SE19 2HPMobile: 0044 
(0)7958003542www.codexconservation.com <http://www.codexconservation.com>



2.From: Hanna Holling
 Posted: Monday June 23, 2025  7:58 AM
 Subject: Critical Conservation | Research jobs in a Swiss National Science 
Foundation project at HKB Bern
 Message: 🎓 We’re Hiring! Join the Critical Conservation Research Team at HKB.

Are you passionate about conservation, heritage, and critical research? The 
Bern Academy of the Arts (HKB) is recruiting for four roles in the SNSF-funded 
project Critical Conservation—a bold, interdisciplinary initiative rethinking 
conservation as a pluricultural, political, and epistemic practice.
 
🧠 Open Positions (Starting February 1, 2026):

 
🔹 Project Assistant, 15% (ca CHF 14,360*) – Diploma/BA, motivated supporter 
with an eye for detail and communication 
https://jobs.bfh.ch/offene-stellen/project-assistant-for-the-snsf-project-critical-conservation/0ce33b89-1cfe-4cf8-8644-37b811da9cac
 
🔹 Research Associate, 40–50% (ca CHF 61,471 at 50%*) – MA or equivalent, 
early-career researcher, experience in the practice of conservation and great 
collaboration skills
https://jobs.bfh.ch/offene-stellen/research-associate-for-the-snsf-project-critical-conservation/bc2a41f4-2976-4796-bffa-8fada12a0273
 
🔹 Senior Research Associate, 50–60% (ca CHF 76,560 at 60%*) – Experienced 
researcher (PhD preferred), strong academic record, leadership potential

https://jobs.bfh.ch/offene-stellen/senior-research-associate-for-the-snsf-project-critical-conservation/c7c5567f-14fe-4e1c-a998-a461ea61d7b9
 
🔹 Postdoctoral Fellow, 60–70% (ca CHF 61,471 at 70%*) – Recent PhD, strong 
publications, interdisciplinary interest

https://jobs.bfh.ch/offene-stellen/postdoctoral-fellow-for-the-snsf-project-critical-conservation/d2d655df-61bc-4ecc-b59b-3cd7c848d15f
 
*Note: Listed gross annual salaries are approximate and provided for 
orientation only. Final compensation will be determined according to the salary 
regulations of the Canton of Bern, based on the candidate’s age and relevant 
professional experience.
 
📍 Based at: Institute Materiality in Art and Culture, HKB, Bern


🗓 Interviews: September 23 & 29, 2025 - in person, Bern
 
📅 Apply by: August 31, 2025 
 
💬 Languages: Excellent English; German is a plus


📩 Contact: Prof. Dr. Hanna Hölling – hanna.hoell...@hkb.bfh.ch
 
About the project: 
https://centerforcriticalconservation.com/what-is-conservation/.
 
 
#Hiring #HKB #CriticalConservation #SNSF #ResearchJobs #Postdoc 
#AcademicCareers #HeritageStudies #ConservationResearch #ArtResearch 
#CulturalHeritage #Bern #SwissJobs




------------------------------
Dr. Hanna B. Hölling, Research Professor
Project Lead: SNSF Performance: Conservation, Materiality, Knowledge | SNSF 
Activating Fluxus

Bern Academy of the Arts
Research Division | Institute Materiality in Art and Culture, Fellerstrasse 11, 
3027 Bern
hanna.hoell...@hkb.bfh.ch

https://performanceconservationmaterialityknowledge.com/
https://activatingfluxus.com/
------------------------------


3.From: Sian Pirnie
 Posted: Monday June 23, 2025  4:45 PM
 Subject: Ceramic on Display- an introduction to custom mounts for ceramic and 
glass with Dauphin
 Message: The Icon Ceramics and Glass Group invite you to join us on the 7th 
July for an engaging lunchtime webinar, with Dauphin, a global leader in custom 
mounts and stunning displays. 
Please follow this link 
<https://www.icon.org.uk/events/ceramic-on-display-an-introduction-to-custom-mounts-for-ceramic-and-glass-with-dauphin.html>
 and book your spot now!



4.From: Adrienne Gendron
 Posted: Monday June 23, 2025  4:45 PM
 Subject: RE: Museum Wax
 Message: Hi all, 
 
A few years ago I conducted some tests to evaluate the effects of various 
mounting wax products on porous surfaces at the Alaska State Museum with Ellen 
Carrlee. 
 
I tested the following products (composition info from SDS in parethenses):
- QuakeHOLD! Museum Putty, Neutral/Creme (calcium carbonate 75-85%, 
polyisobutylene 5-15%, paraffin oil 5-10%)
- QuakeHOLD! Clear Museum Gel (organopolysiloxane 90-100%)
- QuakeHOLD! Crystalline Clear Museum Wax (fully refined microcrystalline wax 
100%)
- Collector's Hold The Museum Putty, Neutral/Creme (calcium carbonate 75-85%, 
polyisobutylene 5-15%, paraffin oil 5-10%)
- Scotch Removable Mounting Putty (limestone 50-60%, non-hazardous ingredients 
10-40%, titanium dioxide 1-10%, polyolefin 1-10%, rubber 1-10%, lubricant 0-5%, 
quartz silica 0.05-1.2%)
- Benchmark Sticky Wax (no composition info)
 
I applied each of these to the surfaces of 25 materials from the ASM study 
collection, ranging from bone, wood, stone, basketry, porous ceramic, plant 
fiber, shell, leather, and metals. I made visual observations after 1, 2, and 
24-hour exposures. I then assigned numerical values to each putty using a point 
system to rank each material's effects on the surface, evaluating staining left 
on surface, residues left on surface, and material pickup on putty. 
 
The results resulted in a ranking as follows, in order from least to most 
damaging: 
- Collector's Hold The Museum Putty (Neutral/Creme)
- QuakeHOLD! Museum Putty (Neutral/Creme)
- Scotch Removable Mounting Putty
- Benchmark Sticky Wax 
- QuakeHOLD! Crystalline Clear Museum Wax
- QuakeHOLD! Clear Museum Gel
 
Note that all of these products caused damage to some materials, and the 
experiment was limited to 24 hours of exposure - long-term effects should be 
expected to be more significant. I don't recommend using mounting wax for any 
porous materials, especially over long periods of time - but for the purposes 
of this conversation, it's notable that the Clear Museum Gel was the most 
damaging of the products I tested!
 
Thanks for bringing up this important topic and reminding me that I should get 
this experiment published somewhere...
 
Best,
Adrienne




------------------------------
Adrienne Gendron
Assistant Objects Conservator
Museum of Fine Arts, Boston
------------------------------
-------------------------------------------
Original Message:
Sent: 06-06-2025 09:00
From: K.E. van Lookeren Campagne
Subject: Museum Wax

 Dear Colleagues 
   Has anyone undertaken research into Museum Wax an/or Museum Gel? In the US 
it is also known as Quakehold and in Europe it is sold under the name 
Crystaline Clear Museum Wax. As it is used to secure museum objects (often on 
other museum objects) it could be  presumed that the composition is known and 
some research has been undertaken. I can only find vague references to it being 
a mixture of microcrystalline and petroleum wax.   Any information or 
experience would be helpful. 
     Kate van Lookeren Campagne   Amsterdam University  Department Conservation 
and Restoration of Cultural Heritage  k.e.vanlookerencampa...@uva.nl 
<k.e.vanlookerencampa...@uva.nl> 
 
  
 
 

5.From: Bonnie Naugle
 Posted: Monday June 23, 2025  10:23 PM
 Subject: Join AIC - summer discounts for new and international members
 Message: 
Hi all,


If you enjoy this Global Conservation Forum and want to engage more with 
conservation colleagues in the U.S., joining the American Institute for 
Conservation (AIC) <https://www.culturalheritage.org/membership/join> is the 
next step. We currently are offering a 30% summer discount for new members 
through August 31.


I also wanted to highlight some of our pricing that people may not be aware of; 
you can find these details on our Join 
<https://www.culturalheritage.org/membership/join> page. You can start the 
process to see what pricing options you have. (Discounts are automatically 
applied if you've filled out your profile with some basic details.)


Summer Pricing: Our 2025 regular rate is $175/year. Students and post-graduates 
pay $88, or 50% off our standard dues rate.


With the 30% summer discount, new members can join for $120, plus:




If your wages are under US$40,000, your rate is $80.

If you are currently unemployed or between jobs, your rate is $60.

If you are a student ord post-graduate, your rate is $54.  


Location: We discount dues for members in parts of the world that have a Gross 
National Income Per Capita significantly lower than countries in North America 
or Western Europe. We calculate the discount automatically based on the 
preferred address provided and according to categories determined by the World 
Bank. If you do not know to which category your country belongs, download the 
list:  Country Categories - Gross National Income 
<https://www.culturalheritage.org/docs/default-source/resources/administration/guidelines/country-categories---gross-national-income.pdf?sfvrsn=b49e1020_5>




25% off for those in Category 2

50% off for those in Category 3

75% off for those in Category 4

For example, an Egyptian conservator can join today for US$60; a Venezuelan 
conservator can join for US$30.


Joining AIC is a great way to connect with colleagues, be among the first to 
hear about our conference and publications, and engage with our virtual 
lectures on a variety of topics. We also have more than 300 members volunteer 
each year!


Please reach out if you have any questions to me or Ryan Winfield 
<rwinfi...@culturalheritage.org>, our Membership Manager. 


------------------------------
Bonnie Naugle 
she, her
Communications & Membership Director
American Institute for Conservation and Foundation for Advancement in 
Conservation
Washington, DC
------------------------------


6.From: Ann Shaftel
 Posted: Monday June 23, 2025  10:24 PM
 Subject: Remote Tibetan Plateau Monastery Conservation Work in Qinghai
 Message: 
https://teahouse.buddhistdoor.net/surmang-monastery-treasures-conservation-project/
 


This well-written story introduces our non-profit's recent conservation work in 
a remote Buddhist monastery under challenging circumstances. Located at 
13,000ft in a vast alpine nomadic and farming region, packs of wild wolves roam 
at night through this area of Qinghai Province of China, also known as Kham. 


























------------------------------
Ann Shaftel MA, MSc
Dalhousie University
Fellow, American Institute for Conservation
Fellow, International Institute for Conservation
Canadian Association of Professional Conservators
ICOM, ICOMOS Member
Director and Founder of Treasure Caretaker Training
------------------------------


7.From: Martin O'Brien
 Posted: Monday June 23, 2025  10:24 PM
 Subject: RE: Museum Wax
 Message: 
Excellent information! Thank you Adrienne!


------------------------------
Martin O'Brien PA-AIC
Wooden Artifact Conservator in Private Practice
Winston Salem, NC
336-773-1334
------------------------------
-------------------------------------------
Original Message:
Sent: 06-23-2025 11:09
From: Adrienne Gendron
Subject:  Museum Wax

Hi all,  A few years ago I conducted some tests to evaluate the effects of 
various mounting wax products on porous surfaces at the Alaska State Museum 
with Ellen Carrlee.  I tested the following products (composition info from SDS 
in parethenses):- QuakeHOLD! Museum Putty, Neutral/Creme (calcium carbonate 
75-85%, polyisobutylene 5-15%, paraffin oil 5-10%)- QuakeHOLD! Clear Museum Gel 
(organopolysiloxane 90-100%)- QuakeHOLD! Crystalline Clear Museum Wax (fully 
refined microcrystalline wax 100%)- Collector's Hold The Museum Putty, 
Neutral/Creme (calcium carbonate 75-85%, polyisobutylene 5-15%, paraffin oil 
5-10%)- Scotch Removable Mounting Putty (limestone 50-60%, non-hazardous 
ingredients 10-40%, titanium dioxide 1-10%, polyolefin 1-10%, rubber 1-10%, 
lubricant 0-5%, quartz silica 0.05-1.2%)- Benchmark Sticky Wax (no composition 
info) I applied each of these to the surfaces of 25 materials from the ASM 
study collection, ranging from bone, wood, stone, basketry, porous ceramic, 
plant
 fiber, shell, leather, and metals. I made visual observations after 1, 2, and 
24-hour exposures. I then assigned numerical values to each putty using a point 
system to rank each material's effects on the surface, evaluating staining left 
on surface, residues left on surface, and material pickup on putty.  The 
results resulted in a ranking as follows, in order from least to most damaging: 
- Collector's Hold The Museum Putty (Neutral/Creme)- QuakeHOLD! Museum Putty 
(Neutral/Creme)- Scotch Removable Mounting Putty- Benchmark Sticky Wax - 
QuakeHOLD! Crystalline Clear Museum Wax- QuakeHOLD! Clear Museum Gel Note that 
all of these products caused damage to some materials, and the experiment was 
limited to 24 hours of exposure - long-term effects should be expected to be 
more significant. I don't recommend using mounting wax for any porous 
materials, especially over long periods of time - but for the purposes of this 
conversation, it's notable that the Clear Museum Gel was the most
 damaging of the products I tested! Thanks for bringing up this important topic 
and reminding me that I should get this experiment published somewhere... 
Best,Adrienne



------------------------------
Adrienne Gendron
Assistant Objects Conservator
Museum of Fine Arts, Boston
------------------------------

Original Message:
Sent: 06-06-2025 09:00
From: K.E. van Lookeren Campagne
Subject: Museum Wax

 Dear Colleagues 
   Has anyone undertaken research into Museum Wax an/or Museum Gel? In the US 
it is also known as Quakehold and in Europe it is sold under the name 
Crystaline Clear Museum Wax. As it is used to secure museum objects (often on 
other museum objects) it could be  presumed that the composition is known and 
some research has been undertaken. I can only find vague references to it being 
a mixture of microcrystalline and petroleum wax.   Any information or 
experience would be helpful. 
     Kate van Lookeren Campagne   Amsterdam University  Department Conservation 
and Restoration of Cultural Heritage  k.e.vanlookerencampa...@uva.nl 
<k.e.vanlookerencampa...@uva.nl> 
 
  
 
 



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