[Consdistlist] Disposable Nitrile Gloves

[Sigel, Anthony]

Hi David,

At the Harvard Art Museums, we are recycling all of our nitrile 
gloves—conservators and art handlers, through the Kimberly Clark program—here 
is an example: 
https://sustainability.ucsc.edu/get-involved/student-projects/green-labs/Waste%20Reduction/Glove%20Recycling%20Program.html

MIT and other labs have chosen a slightly different route:
http://www.labconscious.com/blog/2017/1/27/how-to-start-a-glove-recycling-program-interview-with-lisa-anderson-post-doctoral-scholar-at-mit

I hope this helps,

Tony


Tony Sigel
Senior Conservator of Objects and Sculpture
Straus Center for Conservation and Technical Studies
617-496-1903  FAX 495-0322
tony_si...@harvard.edu

Harvard Art Museums
32 Quincy Street, Cambridge, MA 02138
www.harvardartmuseums.org

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[Consdistlist] Seeking Advice Regarding Paintings on Asbestos

[Jane LaBarbara]

I am an archivist with very little experience with art. My institution is the 
special collections unit of a university library on a large university campus 
in the United States. Our goal is to preserve and provide access to our 
materials.

We have a collection of an artist's papers which includes 56 unframed oil and 
watercolor paintings on "millboard" that contains asbestos. Most of the 
paintings are 21 inches by 14 inches.  When they were donated, they were marked 
as being on material that contained asbestos, and our industrial hygienist on 
campus testing and confirmed the presence of asbestos. The edges of some of the 
paintings are fraying. The paintings have been stored in flat storage boxes 
until now.

Neither I nor our industrial hygienist have dealt with asbestos in artwork 
before. The industrial hygienist gave us the following options for what to do 
with these paintings: encapsulation (covering each painting with a sealant to 
prevent fiber release), enclosure (putting each painting in something that 
creates an air-tight barrier), or encasement (covering each painting with a 
hard-setting sealing material). My department director also suggested having 
our industrial hygienist scan or photograph a few of the paintings so that 
researchers could have a sample to view, then closing access to the boxes (and 
finding a way to make them airtight).

Does anyone have advice as to which of these solutions will cause the least 
damage to the paintings and still encapsulate the surface well enough and long 
enough to be effective? I also would appreciate recommendations of any products 
that would be appropriate for encapsulation or enclosure of this type of 
painting. If we can get recommendations for products/solutions that our 
asbestos-trained personnel on campus can apply, that would probably be ideal.
Thank you for your advice,

Jane Metters LaBarbara
Assistant Curator, West Virginia & Regional History Center
West Virginia University Libraries
1-304-293-0352
jane.labarb...@mail.wvu.edu
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[Consdistlist] Science Liaison Conservator, West Dean College, West Sussex, UK

[Katharine Osborne]

West Dean College has an international reputation for excellence in 
conservation and creative arts. The College specialises in the practical 
teaching of conservation (of objects and materials) and the creative and visual 
arts at post graduate level. The College is part of The Edward James 
Foundation, a charitable educational trust located on the 6,400 acre West Dean 
Estate in beautiful West Sussex countryside near Chichester. The College is 
affiliated to the University of Sussex.

We are currently seeking an experienced and enthusiastic Science Conservator to 
work part time within the School of Conservation.  This new role will be 
responsible for the integration of scientific practice and methodology and 
delivery of subject specialist curricula for units of study at FHEQ levels 6 
and 7, as well as supervising the dedicated equipment and teaching space.
To be successful in this role, demonstrable experience in the professional 
practice of conservation with a science specialism, as well as significant 
experience of teaching, assessment and administration in higher education is 
essential.  A solid understand of contemporary conservation theory and practice 
in addition to experience of quality assurance and enhancement in higher 
education are also crucial.
For the full job description, person specification and terms and conditions of 
employment, please contact 
katharine.osbo...@westdean.org.uk
The closing date for applications is: 28th May 2018








The contents of this message are for the attention and use of the intended 
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[Consdistlist] Job Posting: Senior Conservation Technician for Exhibitions at the University of Pennsylvania

[Sarah Reidell]

 Job Posting: Senior Conservation Technician for Exhibitions
Kislak Center for Special Collections, Rare Books and Manuscripts
University of Pennsylvania Libraries
http://jobs.hr.upenn.edu/postings/36365

The University of Pennsylvania Libraries seeks a Senior Conservation
Technician for Exhibitions to join our dynamic new conservation program
within a vibrant and innovative academic library setting.  To learn more
about the Penn Libraries Kislak Center for Special Collections, Rare Books
and Manuscripts visit http://www.library.upenn.edu/kislak.

Reporting to the Margy E. Meyerson Head of Conservation, the Senior
Conservation Technician position is responsible for carrying out a high
variety of advanced, technical tasks related to the preservation and
conservation of the special collections of the Penn Libraries. These tasks
include stabilization conservation treatment on a wide range of collection
materials and the proposal, design, fabrication, and implementation of
customized exhibition mounts, mats, frames, and other methods of display in
preparation for exhibitions and loans. The position is a core member of the
Conservation staff and will be expected to work closely with exhibition
designers, art handlers, registrarial staff, curators, reading room staff,
student assistants, and other library staff. Tasks are performed at an
advanced and independent level after consultation with and instruction from
the supervisor.

Job Duties and Responsibilities
* Designs and fabricates appropriate, protective supports and/or enclosures
for collection materials through activities such as mount making, hinging,
matting, framing, and installation; preparation also may involve cleaning,
documentation, materials testing, and environmental conditioning.
*  Review facility reports and assist in developing environmental
specifications for specific materials. Create pre-conditioned
microenvironments (e.g. silica gel).
*  Participate in exhibition and loan activities including review of
facilities reports and environmental specifications; conducting exhibition
reviews, and on-site installation and local courier trips as needed.
*  Design, plan, and implement the packing and transport of collection
materials for exhibition and loans. Select, modify, and/or fabricate
appropriate containers and transport systems. Assist with and/or provide
training in packing and transport methods.
*  Performs stabilization and aesthetic conservation treatment on
collection materials in preparation for exhibits and loans, including:
examination, assessment, documentation, photography, surface cleaning,
repair, mending and filling losses, stain reduction, and other treatment
techniques.
*  Requires analytical and evaluative skills to judiciously evaluate
vulnerable materials and propose appropriate solutions. Applies knowledge
of conservation theory and practice to identify condition issues, suggest
appropriate treatment, and display approaches to prolong the lifespan of
collections materials on temporary display for exhibitions and loans.
*  Prepares and contributes to documentation, data collection, and
condition surveys in written and photographic formats. Maintains accurate
statistics for all completed work.
*  Assists in the general maintenance and organization of the conservation
laboratory, prepares solutions and other treatment essentials, contributes
to supply inventory.
*  Assists, when needed, with directing and training interns and student
workers.
*  Utilizes good communication skills to convey changes in scope of work
that may affect project deadlines. Ability to work collegially across a
large, complex, and dynamic organizational setting.
*  Demonstrates patience to work under pressure to maintain time-sensitive
schedule and meet deadlines, as well as considerable skill, craftsmanship,
concentration, and efficiency in the performance of their responsibilities.
*  Assists with other tasks as necessary.

Please see the official posting for more information including desired
qualifications, benefits, and application instructions.
http://jobs.hr.upenn.edu/postings/36365

If you have any questions about the position please contact:

Sarah Reidell
Margy E. Meyerson Head of Conservation
University of Pennsylvania Libraries
3420 Walnut Street, Room 504
Philadelphia, PA 19104-6206
215.746.8370
sreid...@upenn.edu
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[Consdistlist] National Park Service - Harpers Ferry Center (Conservation) - 2 permanent, full-time Objects Conservators

[Voellinger, Theresa]

 The National Park Service (NPS) - Harpers Ferry Center (Conservation) is
happy to share the posting of two permanent, full-time objects conservators
at the GS-12 level.  These positions are is duty stationed in Charles
Town,WV.  This program works in close collaboration with park sites
service-wide to conserve museum collections in support of the NPS mission.
The closing date for application submission is May 21, 2018.

https://www.usajobs.gov/GetJob/ViewDetails/496332000
https://www.usajobs.gov/GetJob/ViewDetails/49803

"The clearest way into the Universe is through a forest wilderness." - John
Muir

Theresa Anne Voellinger
Paper/Photograph Conservator
National Park Service
Harpers Ferry Center - Conservation
P.O. Box 50
Harpers Ferry, WV 25425
Telephone:  304.535.2914
Facsimile:304.535.6055
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[Consdistlist] IIC 2018 Congress - Brommelle Memorial Fund Grants for student attendance - application deadline extended!

[IIC]

The deadline for applications for the 2018 Congress has been extended to
22nd May!

The Brommelle Memorial Fund was established in 1990 in memory of Norman
Brommelle, who was Secretary-General of IIC between 1958 and 1988 and
provides assistance for Student members of IIC who attend the Institute's
international congresses. Applicants for the grants are required to be
enrolled in a full-time course of conservation training leading to a
recognised academic qualification. Students may apply for this funding at
any time during their course of study, including their final year or
internship.

These grants are only open to students enrolled in a full-time course of
conservation training leading to a recognised academic qualification. Please
go to the Grants page on the IIC Turin Congress webpage to download the
application form - http://iicturincongress2018.com/content/grants-attendance

Graham Voce
Executive Secretary

International Institute for Conservation of Historic and Artistic Works 3,
Birdcage Walk, London, SW1H 9JJ, UK

Tel: +44 (0)20 7799 5500
Fax: +44 (0)20 7799 4961
www.iiconservation.org

Follow IIC on our social networking pages:
Facebook: www.facebook.com/International.Institute.for.Conservation
LinkedIn:
http://www.linkedin.com/groups/International-Institute-Conservation-Historic
-Artistic-4974966[1] 

The Institute is a learned society, a company limited by guarantee
registered in England and Wales ( No. 481522) and a registered charity (No.
209677)




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[Consdistlist] III International Iron Gall Ink Meeting 2019

[Bruin, Gerrit de]

International Iron Gall Ink Meeting 2019
 
Dear Colleagues,
 
The University of Barcelona (in conjunction with the Spanish Cultural Heritage 
Institute and the General Subdirectorate of State Archives in Spain) is 
organizing the III International Iron Gall Ink Meeting (IGI2019BCN).
 
We would like to invite you to participate in this Meeting and submit your 
contributions related to the history of iron gall ink as well as the recent 
developments related to the study of the degradation processes and associated 
proposals for conservation, preservation and exhibition of manuscripts and 
works of art created with Iron Gall Ink. 
 
The official languages of the meeting are English and Spanish. The meeting will 
be fitted with Spanish–English simultaneous translation and presentations can 
be submitted in anyone of these two languages.
 
The meeting will be hosted by the Faculty of Biology of the University of 
Barcelona, (Av. Diagonal 643) in Barcelona on 13-15 February 2019.  
 
More information about the call of papers, preliminary program and registration 
procedure at: www.ub.edu/IGI2019BCN
 
Deadline for abstracts submission: June 10, 2018
 
e-mail contact: igi2019...@ub.edu
 
Organizers apology if you receive this call more than one time from different 
sources.
 
We hope to meet you in Barcelona.
  
Sincerely,
 
M.C. Sistach and Jose F. Garcia
igi2019...@ub.edu
On behalf the organizing committee.
 
Jose F. Garcia
Coordinador Master Quimica Analitica
Departament d'Enginyeria Quimica i Quimica Analitica
Facultat de Quimiques
Universitat de Barcelona
C/ Diagonal 645, 08028 Barcelona, Spain
 

M. Carme Sistach
Archivo de la Corona de Aragon
Ministerio de Educación Cultura y Deporte
C/ Almogávares, 77, 08018 Barcelona, Spain
 
 
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[Consdistlist] Time-sensitive: June, 27-29, 2018 Daguerreotype Workshop held by Mike Robinson at the SMP International Photo Conservation Studio, Genzano di Roma, Italy

[SMPhoto Conservation Studio Sandra M. Petrillo]

The SMP International Photo Conservation Studio is offering on June 27-29,
2018 a Daguerreotype Workshop With Mike Robinson

From 27 to 29 June 2018 the SMP Studio

will host a workshop on the daguerreotype held by the great Canadian
specialist Mike Robinson . Three full
days will be dedicated to learning this wonderful technique dating back to
the dawn of photography, using the methods perfected by the professional
photographers of the time (1850).
Roger Watson, curator of the Fox Talbot Museum
,
will introduce the workshop with a presentation on the history of the
procedure and its diffusion in Great Britain and in the United States, and
photography conservator Sandra Petrillo will talk about the aesthetics of
European daguerreotypes and the main issues regarding their conservation.
There will also be the opportunity to examine Roger Watson’s collections of
daguerreotypes in addition to the educational collection of the SMP Studio.
After a demonstration of the various stages of the procedure, Mike Robinson
will assist each participant in realizing two 82 x 108 mm daguerreotypes on
the Centuryroom daguerreotype clad plates which have been produced and
recently perfected. The polishing and cleaning of the silver-coated plates
will be performed using both traditional and modern techniques. Before
studying the techniques of creating daguerreotype images outdoors and in
the studio, we will also examine problems related to controlling the
contrast of the image, by learning bromine sensitization techniques and
several alternative methods.
The daguerreotypes will be developed by exposing the silver plates to
mercury vapour, using new equipment, recently developed by Mike Robinson,
which greatly improves user safety. They will then be fixed by means of
sodium hyposulphite and gilded in a gold chloride solution. The plates will
finally be housed in handmade enclosures for their conservation, with a
decorative passe-partout, using high-quality materials supplied by the SMP
Studio, which will ensure their preservation over time. The chemicals, two
clad plates for each participant and the materials for the housing of the
plate are all included in the cost of enrolment in the workshop.

Mike Robinson
Mike Robinson is a specialist in the daguerreotype process which he
practices for his own artistic aims as well as for purposes of study and
research. He has taught the history of 19th century photographic processes
at Ryerson University in Toronto. In 2017 he obtained a doctorate in the
history of photography at the De Montfort University in Leicester
(England). His degree thesis was entitled “The Techniques and Material
Aesthetics of the Daguerreotype”. He has made several important historical
contributions concerning the professional activity of the American
daguerreotypists “Southworth & Hawes”, which have been published in the
important catalogue entitled: Young America: The Daguerreotypes of
Southworth & Hawes”, as well as in the annual journal of the Daguerreian
Society.

Roger Watson
Roger Watson is currently the curator of the Fox Talbot Museum in the
village of Lacock, in Wiltshire where he has supervised the cataloguing of
the entire archive of Fox Talbot’s photographic images and writings. He was
also one of the referents in the project The Correspondence of W.H.F.
Talbot coordinated by the University of Glasgow, and he is currently a
member of the Advisory Board of the online W.H.F. Talbot Catalogue
Raisonné. Watson has curated many important photographic exhibitions and he
wrote the book: Capturing the Light – The Birth of Photography in
collaboration with Helen Rappaport, which was published in 2013.

Organiser: Sandra M. Petrillo, Owner of the International Photo
Conservation Studio dedicated to the preservation and conservation of
historic and fine art photography.
www.smp-photoconservation.com

Modalities of enrolment on the course:
The workshop is intended for artists, students, teachers, photography
restorers and amateur enthusiasts.
Due to the complexity of the technical procedures involved and the careful
attention required for carrying them out successfully, the course will be
limited to a maximum number of six people.
Course location:
SMP International Photo Conservation Studio
Piazza Mazzini, 26
00045 Genzano di Roma (RM) – Italy
Dates and times: 27-28-29 June: 10am – 1pm / 2pm – 6pm
Language: English

Cost: € 950.00 including VAT
Registration:
https://www.eventbrite.it/e/daguerreotype-workshop-with-mike-robinson-27-28-29-june-2018-tickets-43896279955

The chemicals, two silver-coated plates for each participant and the
materials for the housing of the plate are all included in the cost of
enrolment in the workshop.

Cancellation Policy
No refunds will 

[Consdistlist] Conservation Lecture: Mission Possible: Emergency Response for Cultural Heritage Institutions in Puerto Rico

[S Kerner]

Mission Possible: Emergency Response for Cultural Heritage Institutions in
Puerto Rico.
 May 21, 2018: 12:30 to 2 pm
 National Archives and Records Administration,  William G McGowan Theater
700 Pennsylvania NW, Washington DC, 20408


A lecture focusing on the first hand accounts of

Emergency Support Function ESF #11 Mission Assignment to Puerto Rico in
November, and a second team sent in December. There will also be a section
on a mission to assist the US Virgin Islands. Topics to be discussed;
Assessing damage and providing assistance after disaster is declared in
Puerto Rico following Hurricanes, visitations to affected governmental and
cultural heritage institutions, three day-long trainings in heritage
response given across the island.
 Presenters include;
 Vicki Lee, NARA

Beatriz Centeno-Pineiro, NARA

Abigail Aldrich, NARA

Preston Huff, NARA

Nora Lockshin, SI

Jennifer Groman, NASA


For additional information or access to a weblink to view the lecture
remotely, please email: shannon.ker...@nara.gov
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[Consdistlist] CALL FOR ABSTRACTS: Around Picasso: An insight into the relationship between material choices and failure mechanisms

[Laura FUSTER LÓPEZ]

CALL FOR ABSTRACTS
 
Around Picasso: An insight into the relationship between material choices and 
failure mechanisms
MUSEU PICASSO 
Barcelona, Spain
November 29th, 2018
 
The international symposium Around Picasso: An insight into the relationship 
between material choices and failure mechanisms is organized jointly by the 
Universitat Politècnica de València (UPV) and Museu Picasso (Barcelona) in the 
framework of the R+D Project ProMeSA: Study of the mechanical and dimensional 
properties of commercially manufactured paint films and their influence in the 
physical and chemical degradation of modern and contemporary paintings 
(HAR2016-75131-P) granted by the Ministerio de Economia, Industria y 
Competitividad (MICINN-FEDER), Programa Estatal de Fomento de la Investigacion 
Científica y Tecnica de Excelencia).
 
This symposium will provide a forum to conservators-restorers, conservation 
scientists, art historians and professionals and students from related 
disciplines to discuss issues such as:
1-Characterization and documentation of materials present in Picasso paintings.
-Supports, grounds and paint films.
-Re-use of canvases.
2-Failure mechanisms in Picasso’s paintings. 
-Common alterations and degradation mechanisms observed.
-Interaction between artist’s materials and environment.
-Interaction between the paint film and the substrate. Factors influencing the 
stability of paintings.
-Correlation between chemical composition, chemical-physical properties and 
mechanical behaviour.
3-Conservation strategies. Latest research.
4-Display, handling, transport and storage issues on Picasso’s paintings. 
Guidelines for their preservation to minimize degradation.
5-Case studies related to the theme of the symposium.
 
IMPORTANT DATES
-June 1st, 2018: Deadline to submit abstracts.
-July 1st, 2018:Notification of acceptance /rejection to authors.
-October 15th,  2018:Submission of manuscripts. 
 
PUBLICATION
Papers selected will be published in a peer review publication.
  
INSTRUCTIONS FOR ABSTRACT SUBMISSION
a) Abstracts should describe original, unpublished work.
b) Authors are permitted to submit a maximum of ONE abstract as a presenting 
author and TWO on co-authorship.
c) Abstracts must be written in ENGLISH 
d) The following information is required:
- TITLE OF THE PAPER
- AUTHOR(s) FULL NAME(s)
- CONTACT AUTHOR
- AFFILIATION
- POSTAL ADDRESS
- E-MAIL ADDRESS 
- 5 KEY WORDS 
- ABSTRACT (max. 500 words)
 
d) Abstracts must be submitted in .doc or .docx, Arial, 10 pt, single-spaced, 
left-justified. The text should not contain tabs.
f) An extended version of the accepted abstracts will be requested for 
publication in the Proceedings Book after the conference. 
g) At least one author per contribution is required to register in the 
conference
h) A maximum of 4 illustrations are allowed (.jpeg format, 300 ppi max.)
i) Abstracts must be submitted to: conservacion@upv.es   
 
 
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[Consdistlist] Materials from the 'Conservator's Conference' now available online

[Magdalena Grenda-Kurmanow]

Dear Colleagues,

 

We are pleased to share with you materials from the 'Conservator's
conference: Renovated, rebuilt, saved - how they survived WWII.
Conservation, preservation and prevention of items from the years 1939-1945'
held in the Warsaw Rising Museum in April 12-13, 2018,

now available on our website!

 

Book of abstracts (bi-lingual, English-Polish version) :
http://www.konferencjakonserwatorska.pl/wp-content/uploads/2018/04/Konferenc
ja-Konserwatorska-MPW-tom-konferencyjny-kopia-na-strone%CC%A8-www.pdf

 

Videos with presentations (in original language of presentation):
http://www.konferencjakonserwatorska.pl/en/videos/

 

Pictures from the conference:
http://www.konferencjakonserwatorska.pl/en/gallery/

 

Click, enjoy and share,

 

Best regards,

 

Magdalena Grenda-Kurmanow

 

 

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[Consdistlist] New Titles in Getty Research Library's Conservation Collection

[Sheila Cummins]

Newly acquired conservation titles available in the Getty Research Library's 
Conservation Collection

Every month the Getty Conservation Institute (GCI) acquires new research 
materials for the Conservation Collection, housed in the Research Library at 
the Getty Research Institute (GRI). The collection represents an ongoing 
collaboration between the GCI and the GRI to acquire and retain critical 
resources required to fulfill the long-term research and scholarship needs of 
the international conservation community. With its emphasis on conservation, 
management, and protection of cultural property, both movable (held by museums 
or libraries) and immovable (architecture, cultural heritage sites), the 
collection complements the general and special collections of the Research 
Library that focus on the history of the visual arts, architecture, 
archaeology, and the humanities.

The latest list of Conservation Collection acquisitions can be accessed here as 
a PDF:
http://bit.ly/2I9fVHn

The holdings of the Conservation Collection may be consulted at the Getty 
Center or borrowed through your Library's Interlibrary Loan Department.

Best regards,

Sheila Cummins
Research Associate
Information Center
Getty Conservation Institute
1200 Getty Center Dr., Suite 700
Los Angeles, CA  90049
310-440-7619
310-440-7710 (fax)
scumm...@getty.edu



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[Consdistlist] Free Webinar: Risk Assessment for Cultural Institutions

[Katelin Lee]

FREE WEBINAR:
Risk Assessment for Cultural Institutions

Wednesday, May 16th

2:00 – 3:30 pm EDT

Presenters: Susan Duhl, Robert Herskovitz, Saira Haqqi



Register here: www.tinyurl.com/culturalriskassessment



The devastation caused by Hurricanes Harvey, Irma, and Maria is a stark 
reminder of the importance of disaster planning in cultural institutions.



The first step in disaster preparation is assessing your institution’s disaster 
readiness. Individual assessments reveal conditions specific to your situation 
and help identify areas to address for a more effective disaster response.



This webinar will cover approaches to conducting assessments before and after 
disasters. The program will include discussions on the assessment team and 
potential institutional areas of concern such as building structure and 
maintenance, collection inventories, and necessary supplies.



Instructors will present both potential challenges and their possible 
solutions, providing extensive resources to guide assessment procedures to help 
you protect your collections.


FAIC
FOUNDATION of the AMERICAN INSTITUTE FOR CONSERVATION
727 15th St., NW | Suite 500 | Washington, DC | 20005
t 202-661-8063 | f 202-452-9328
www.conservation-us.org | 
@conservators | 
Facebook
Katelin Lee | Outreach Coordinator
k...@conservation-us.org

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[Consdistlist] AIC Equity and Inclusion Working Group Report

[Bonnie Naugle]

The AIC Board of Directors has released the following message about the AIC 
Equity and Inclusion Working Group final report.
- - - -
It is a privilege to release and put into action the report of the Equity and 
Inclusion Working Group (EIWG), Recommendations for Advancing Equity and 
Inclusion in the American Institute for Conservation of Historic and Artistic 
Works (https://tinyurl.com/y9kswaxw). The EIWG was established in December 2016 
for a term of one year and was charged with drafting a Statement on Equity and 
Inclusion, which was incorporated into our Core Values 
(https://tinyurl.com/ycx5zuhh) in April 2017. The Group was also tasked with 
writing a report that summarized similar efforts in allied professions and 
proposing avenues in furtherance of equity and inclusion in AIC Strategic 
Planning, and, lastly, recommending strategies and programs to help the AIC 
improve equity and inclusion within the organization.

The final report frames the EIWG’s recommendations according to four targets:
* Develop Internal Engagement and Education Processes or Resources
* Increase Advocacy and Partnerships with Allied and International Professionals
* Enhance Recruitment, Growth, and Retention Practices
* Ensure Sustainability of Efforts  

The EIWG has fulfilled its charge with distinction and the Board is grateful to 
its members:
Jennifer Hain Teper, Chair; Heather Galloway, ETC Liaison; Kimi Taira, ECPN 
Liaison; Anisha Gupta; Beatriz Haspo; Thomas McClintock

Clearly the time has come for the AIC to commit to these efforts in a 
systematic and pro-active manner if meaningful progress is to be achieved.  
Accordingly, members are encouraged to read and reflect upon Recommendations 
for Advancing Equity and Inclusion in the American Institute for Conservation 
of Historic and Artistic Works (https://tinyurl.com/y9kswaxw). Opportunities 
for member input will be scheduled and advertised.

As a reflection of its endorsement of this report, the Board has formally 
approved the appointment of an Equity and Inclusion Committee and will be 
posting a call for members soon.
-The American Institute for Conservation of Historic and Artistic Works Board 
of Directors




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