Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. Open position -- Assistant, Associate, or Full Professor of Objects Conservation 2. Culpeper Fellowship 3. conservation literature: publication donations available 4. RE: XRF on ethnographic collection 5. Laser Discussion Group 6. Recommendations for Re-gilding Techniques for Porcelain? ------------------------------------------------------------------------------------------------------------ 1.From: Matthew Hayes Posted: Thursday November 13, 2025 9:40 AM Subject: Open position -- Assistant, Associate, or Full Professor of Objects Conservation Message: Dear Colleagues, A reminder that the Conservation Center is still accepting applications for its open Assistant, Associate, or Full Professor of Objects Conservation position. The application deadline is December 15. You can find details and apply at: https://apply.interfolio.com/175143 <https://apply.interfolio.com/175143> Please note that while the successful candidate will hold a terminal conservation degree, they need not have a doctorate. Feel free to be in touch with any questions about the application process or the position. Very best wishes, Matt Hayes ------------------------------ Matthew Hayes, PhD Assistant Professor of Paintings Conservation Conservation Center, Institute of Fine Arts, New York University 14 East 78th Street, New York, NY 10075 [email protected] ------------------------------ 2.From: Jay Krueger Posted: Thursday November 13, 2025 1:18 PM Subject: Culpeper Fellowship Message: NATIONAL GALLERY OF ART, CONSERVATION DIVISION Charles E. Culpeper Advanced Training Fellowship in Painting Conservation With an endowment from the Charles E. Culpeper Foundation, the National Gallery of Art is offering a fellowship in the painting conservation department. The three-year fellowship will commence in September of 2026 and include a yearly stipend of $53,000 plus health benefits and $3,000 each year for travel and research. Fellows will receive transit benefits towards their commuting costs to and from the National Gallery. Working under the guidance of the National Gallery's conservators and scientists, the fellow will focus on two aspects: treatment of the collection and a self-selected research project that culminates in a publishable paper. The fellow will have the opportunity to collaborate with conservators, scientists and curators. They will also have access to the National Gallery's collections and to advanced analytical instrumentation available in the scientific research department. Lectures, symposia, and informal discussions at the National Gallery of Art contribute to the fellowship program. Eligibility Candidates should be graduates from a recognized master's program in conservation or have equivalent training. They should have no more than five years of work experience after graduation and a proven record of research and writing ability. Candidates must possess English language skills. Application Procedure Interested candidates must submit the following materials in English: Transcripts of both undergraduate and graduate courses of academic study (unofficial copies are acceptable) A curriculum vitae including basic biographical information and current and permanent addresses, telephone number, and a description of previous conservation experience and internships A statement of interest and intent (no more than two single-spaced pages) of the candidate's in applying for the fellowship Offprints/Reprints in PDF format of publications and lectures Two letters of recommendation from conservation professionals familiar with the candidate's work and one letter of personal reference (emailed directly to the address below) File naming convention for submissions: Last Name_First Name_Document type (e.g., Transcripts) _Date (Year-Month-Day) Formal applications and supporting materials must be submitted in PDF format by email to [email protected] <[email protected]> and arrive at the Gallery no later than January 17, 2026. Applicants will be notified of the decision by the end of February 2026. The fellowship may begin on or after September 21, 2026 and will end September 29, 2029. For inquiries, please contact: Tyrese Davis, Conservation Administrator [email protected] The National Gallery of Art serves the nation by welcoming all people to explore and experience art, creativity, and our shared humanity. 3.From: Andrea Chevalier Posted: Thursday November 13, 2025 6:23 PM Subject: conservation literature: publication donations available Message: As I approach retirement, I would like to donate some of the conservation literature in my library. Available are: Journal of the American Institure for Conservation, 1991-2021 Studies in Conservation, 1989-2021 National Gallery of Art, London, Technical Bulletins, Vols. 10-13, 15-17 and 19-24 Zeitschrift fuer Kunsttechnologie und Konservierung, 1987-1994 These will be donations but shipping costs will have to be shared or covered in some manner. Andrea Chevalier Head of Paintings Conservation ICA-Art Conservation Cleveland OH USA [email protected] ------------------------------ Andrea Chevalier Head of Paintings Conservation, Director of Conservation ICA-Art Conservation Cleveland United States ------------------------------ 4.From: Thiago Sevilhano Puglieri Posted: Thursday November 13, 2025 6:23 PM Subject: RE: XRF on ethnographic collection Message: Dear Stefanie, Thank you for raising this important conversation. My name is Thiago Puglieri and I am a heritage scientist (originally from chemistry) working with technical art history and conservation science at the University of California Los Angeles, UCLA. Considering your message and the replies, I would like to mention that Ellen Pearlstein and I have a forthcoming book chapter addressing ethical considerations and community engagement in the scientific investigation of Indigenous sacred and ceremonial items. It will be published in the book Art Objects and the Scientific Method: Global Perspectives and Practices, edited by Maria Kokkori and Francesca Casadio (Routledge). Aligned with your perspective, Indigenous sacred and ceremonial items are often perceived as living entities rather than mere objects. Additionally, they are typically made of materials imbued with spiritual significance and associated with traditional knowledge that should remain confidential. Given their status as living entities with spiritual connections and their often-sensitive and secret material nature, researchers and scientists should approach these items with specific care and respect. In such a context, even techniques traditionally considered materially non-invasive and non-destructive in science – such as XRF - could be considered invasive and destructive for the significance and intangible dimensions of the items. In our chapter, we discuss these points in depth, addressing ethical considerations for 1) sampling and destructive analyses, 2) non-invasive and non-destructive analyses, 3) publication and dissemination of scientific results, and 4) uses and impacts of the research outcomes. I would like to suggest you contact our colleagues from the Fowler Museum, UCLA. They have done wonderful work with communities and sacred and ceremonial items, and have relevant experience that could be helpful for your situation. I would be happy to put you contact with them, and also discuss this topic further if you (or anyone else) wish. Please do not hesitate in contacting me: [email protected] <[email protected]> With best wishes, Thiago Thiago Sevilhano Puglieri, Assistant Professor UCLA - University of California, Los Angeles Department of Art History <https://arthistory.ucla.edu/> UCLA/Getty Program in the Conservation of Cultural Heritage <https://conservation.ucla.edu/> UCLA Latin American Institute <https://www.international.ucla.edu/lai/> UCLA Center for Brazilian Studies <https://www.international.ucla.edu/lai/center/brazil> UCLA Center for 17th- & 18th-Century Studies <https://www.1718.ucla.edu/> ------------------------------ Thiago Sevilhano Puglieri Assistant Professor University of California, Los Angeles Los Angeles United States ------------------------------ ------------------------------------------- Original Message: Sent: 11-10-2025 06:38 From: Stefanie Scheerer Subject: XRF on ethnographic collection I am facing the following situation: An ethnographic museum in Germany is planning to perform pesticide measurements on their entire collection, formerly collected across all continents. Included are also some sacred objects / objects for ritual purpose and potentially ancestors. However, so far there is no contact with the communities of origin. Nevertheless, the museum intends to measure every object with XRF. ( I am aware of the limits of XRF on organic pesticides) I brought to the museum's attention that source communities should be generally contacted and asked for permission before performing XRF analyses. In the case of this forthcoming project there is only little time left for further actions. Instead, occupational health and safety issues require testing to be performed within the next few months. Indirect wipe sampling is most likely not an option, since XRF may not sensitive enough to give reliable results. However, any ideas on indirect XRF testing of wipes/swabs are also appreciated. Other indirect analytical methods such as GC/MS are too expensive to be performed on the entire collection. Currently, I'm wondering how other museums address this problem. Are you aware of any museum that has a protocol when collection-wide XRF analyses is planned? It would be very helpful to see any written document addressing this issue. Are you aware of other museums performing or not performing XRF analyses on sacred objects / ancestors / objects for ritual purposes when contact to source communities does not exist? Should ancestral items be treated like human remains or possibly like human beings. This would, however, mean that XRF analysis must not be performed, since pointing an X-ray beam at a human being is inacceptable. Do you maybe know whom I could contact for such information? Thank you very much for your support and taking your time on this! Sincerely, Stefanie Dr. Stefanie Scheerer Microbiology & Conservation Stuttgart, Germany [email protected] <[email protected]> ------------------------------ Stefanie Scheerer Microbiologist & Conservator Freelance/Private Practice/Self-employed/Independent Stuttgart Germany ------------------------------ 5.From: Adam Jenkins Posted: Thursday November 13, 2025 6:24 PM Subject: Laser Discussion Group Message: Colleagues,The Laser Discussion Group has been live for a few weeks now and those of you who previously asked us to add you to the list have been added. Please check the site and make sure we have the right email address and your email preferences are set as you would like them to be. If you are not a member and would like to be, please follow the instructions below. If you have questions, please email me or one of the other moderators.Very best,Adam Hi there, Were excited to invite you to the AIC Lasers Discussion Group (LDG)! The LDG is an online community dedicated to advancing the use of laser technologies in art and heritage conservation, as well as welcoming communication and collaboration among art conservation and cultural heritage professionals. If you (or whoever you share this with) are not an AIC member, dont worry-- being an AIC member isnt required to join the group. Follow these instructions to get started: 1. Create an account Visit https://www.culturalheritage.org/conservation-at-work/build-community/allcommunities <https://www.culturalheritage.org/conservation-at-work/build-community/allcommunities> Select the "Log In" button in the upper right corner of the page. Select the "Create Login" tab in the pop-up. Sign up using Apple, Google, or LinkedIn, OR create your own account by entering in your email address and creating a password for AIC. Take note of the password you create; you will need it to log in to post to the community. The AIC website will walk you through steps to create your account. i. When prompted to "Tell us a little more about yourself and why you are coming to our site today", select "I am joining an online community" from the drop-down menu. Fill out your profile information. Note: Fields marked with an * are required. The rest are optional. Skip any questions that do not apply). Click "Create Account" at the bottom of the page. Make sure to agree to the Terms & Conditions to complete the account. 2. Join the Laser Discussion Group After completing your account registration, select the "Communities" tab on the top drop-down bar. If you can't find the communities tab, click here: https://www.culturalheritage.org/conservation-at-work/build-community/allcommunities <https://www.culturalheritage.org/conservation-at-work/build-community/allcommunities> Select "All Communities" from the drop-down list-this will take you to the list of all AIC communities. Scroll down to the Laser Discussion Group and click the "Request to Join" button. 3. Set your email delivery preferences After requesting to join, a pop-up window will ask two questions: a short statement on why you'd like to join the laser group and email delivery preferences. You may choose from: - Real time: sends an email every time a new message is posted. - Daily digest: sends one email to you each day, consolidating all of the posts from the previous day. - No email: allows you to be part o the group without having emails sent to you. You can still post and read others' messages by logging into the community site. We recommend the Daily Digest, as it allows you to follow the discussions without bombarding you with emails. Let us know if you are having any difficulties or have any questions. Adam Jenkins Laser Discussion Group -- Adam JenkinsConservator of Sculpture and Decorative Arts Mobile: 215-380-6426 6.From: Halina Piasecki Posted: Thursday November 13, 2025 6:24 PM Subject: Recommendations for Re-gilding Techniques for Porcelain? Message: Hi there, I am currently working on a partially gilded Meissen tea caddy at the Cooper Hewitt with discrete areas of loss and abrasion to the gilded borders. I'm wondering if anyone has had any success with techniques for re-gilding as loss compensation on porcelain that they would be willing to share. I have made some porcelain mockups for testing specifically for this project, and I plan to share the results of these tests after the project is complete. If you have any suggestions these will be credited to you in the write-up. Thanks so much in advance for your help with this! Halina Piasecki Graduate Fellow, Cooper Hewitt Smithsonian Design Museum ------------------------------ Halina Piasecki Graduate Fellow (Class of 2026) Conservation Center of the Institute of Fine Arts, NYU New York United States ------------------------------ 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.
