[Consdistlist] Pastels on loan - 45 degrees

[Claire Grundy]

Do organisations always insist on lending pastels within crates at a 45
degree angle? I was always trained to insist on a crate spec on an angle -
but there is very little recent research in this area.
Does anyone have pastels in transit recent research or working practices
you'd like to share?


-- 
Claire Grundy
Senior Conservator
Manchester City Galleries
Growth and Neighbourhoods Directorate, Manchester City Council
Manchester
M9 5SH

Tel: 07976 862 369
Tel: 0161 219 6727

E: c.gru...@manchester.gov.uk
www.manchester.galleries.org

Manchester Art Gallery now open until 9pm every Thursday

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[Consdistlist] Wood workshop - Training search UK

[Claire Grundy]

I manage conservation staff who work within a woodworking shop. There are
13 fixed machines, which include bandsaw, bobbing sander, dimension saw,
disk sander and circular saw.
As part of a full H review, I am ensuring compliance with maintenance,
servicing and staff training. But I am struggling hugely with a staff
training provider. I want to be able to prove that the 2 members of staff
who use the machines have had recent training in line with the HSE
directive - but cannot find anything. Providers train the assessors for HSE
but not users.
Has anyone used a training provider for a half day course within the UK?

-- 
Claire Grundy
Senior Conservator
Manchester City Galleries
Growth and Neighbourhoods Directorate, Manchester City Council
Manchester
M9 5SH

Tel: 07976 862 369
Tel: 0161 219 6727

E: c.gru...@manchester.gov.uk
www.manchester.galleries.org

Manchester Art Gallery now open until 9pm every Thursday

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[Consdistlist] YCW 2018/19 Post-Graduate Internship in Conservation, Provincial Archives of Alberta

[Alison Freake]

The Friends of the Provincial Archives of Alberta Society is pleased to offer 
one (1) Young Canada Works Internship in archival conservation at the 
Provincial Archives of Alberta.  Based in Edmonton, the Conservator (Intern) 
will work on a variety of treatment, collections care, and outreach projects 
designed to expand the intern's knowledge of preservation and its applications 
in an archival context.  Projects include treatment of paper-based records 
(bound volumes, textual and photographic), repair of glass plate negatives, 
off-site collection assessment and environmental monitoring.   Treatment 
projects for this internship are focused on records relating to Indigenous 
communities in Alberta, in order to enhance access to these important 
historical resources.

This internship requires a solid background in the conservation of historic 
materials.  The ideal candidate would be a recent graduate of a conservation 
programme with an archival conservation component.  Proficiency in Microsoft 
Office is required, specifically Word, Excel, Outlook and PowerPoint.  A 
willingness to participate in public engagement is also important, as is the 
enthusiasm to make the most of an excellent practical learning opportunity.

The Friends of the Provincial Archives of Alberta Society is an equal 
opportunity employer and welcomes applications from all qualified parties 
(particularly women, persons with disabilities, and members of visible minority 
and Indigenous communities), subject to the requirements of the Young Canada 
Works programme.

This position is scheduled to run for 24 weeks, between 10 September 2018 - 1 
March 2019 with a stipend of $20.20/hour (36 hours per week).  Please note:  
start and end dates are flexible but the term cannot extend beyond 31 March 
2019.

Please note that there are two steps to the application process:

Step 1: Register with the Young Canada Works 2018 Programme at the following 
address:
https://young-canada-works.canada.ca/Account/Login

Step 2: Forward a letter of interest, résumé, and a sample treatment record 
(attached or include a url) by June 22, 2018 to:

Alison Freake
Conservator
Access and Preservation Services
Provincial Archives of Alberta
8555 Roper Road
Edmonton AB T6E 5W1
E:  alison.fre...@gov.ab.ca

The Friends of the Provincial Archives of Alberta Society gratefully 
acknowledges the contribution of the Canadian Council of Archives and Canadian 
Heritage in support of this internship opportunity.


Alison Freake   MA
Conservator, Access & Preservation Services
T: 780.415.4869| F: 780.427.4646

Provincial Archives of Alberta
8555 Roper Road. Edmonton, AB. T6E 5W1

http://provincialarchives.alberta.ca/


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[Consdistlist] CALL FOR PROPOSALS: 2019 Isabel Bader Fellowship and Graduate Internship in Textile Conservation and Research, Kingston, Ontario, Canada

[Katherine Yuksel]

2019 Isabel Bader Fellowship in Textile Conservation and Research
Agnes Etherington Art Centre and Master of Art Conservation Program
Queen’s University, Kingston, Ontario, Canada

CALL FOR PROPOSALS
We are seeking research proposals from candidates for the 2019 Isabel Bader 
Fellowship in Textile Conservation and Research. This program supports the 
study, care and treatment of Canadian historical costume and textiles, through 
the generous support of Dr. Isabel Bader. The Fellowship links two unique 
resources at Queen’s University: the Queen’s University Collection of Canadian 
Dress, at the Agnes Etherington Art Centre, and the Master of Art Conservation 
Program, Canada’s only graduate degree in conservation theory and treatment.

DESCRIPTION
The Fellowship offers an exciting opportunity to pursue a research project, 
defined by the candidate, in textile conservation and/or costume history, using 
the Queen’s University Collection of Canadian Dress at the Agnes Etherington 
Art Centre. The project is supported by the Isabel Bader Graduate Intern in 
Textile Conservation and Research, who assists the Fellow in the research and 
treatment of select objects. The Fellow also has access to the well-equipped 
textile laboratory in the Master of Art Conservation Program and is expected to 
engage and share expertise with the students through lectures, seminars and/or 
workshops.

TERMS
One $16,000 Fellowship is awarded for a four-month residency at Queen’s 
University (plus up to $2,000 for research expenses). The Fellowship begins 7 
January 2019. The Fellow is responsible for travel and accommodation 
arrangements.

TO APPLY
Experienced conservators and textile specialists are encouraged to apply. 
Please submit the following to 
alicia.boutil...@queensu.ca:

  *   Cover letter, including name, contact information and project summary 
(maximum 150 words)
  *   Detailed research proposal, including objectives and methodology, use of 
the Queen’s University Collection of Canadian Dress, schedule of work, 
projected outcomes and plans for dissemination of research (maximum 5 pages)
  *   Curriculum vitae
  *   Letters of support from two professional referees

Interested candidates are encouraged to contact Alicia Boutilier 
(alicia.boutil...@queensu.ca), Chief 
Curator/Curator of Canadian Historical Art, Agnes Etherington Art Centre, in 
advance of the closing date to discuss their research interests.

DEADLINE FOR PROPOSALS
25 June 2018

For more information about past Fellowships, see Agnes Residencies: 
https://agnes.queensu.ca/research/residencies/


___

2019 Isabel Bader Graduate Internship in Textile Conservation and Research
Agnes Etherington Art Centre and Master of Art Conservation Program
Queen’s University, Kingston, Ontario, Canada

CALL FOR APPLICATIONS
We are seeking applications from candidates for the 2019 Isabel Bader Graduate 
Internship in Textile Conservation and Research. This program supports the 
study, care and treatment of Canadian historical costume and textiles, through 
the generous support of Dr. Isabel Bader. The Graduate Internship links two 
unique resources at Queen’s University: the Queen’s University Collection of 
Canadian Dress, at the Agnes Etherington Art Centre, and the Master of Art 
Conservation Program, Canada’s only graduate degree in conservation theory and
treatment.

DESCRIPTION
The Graduate Internship offers an exciting opportunity for the successful 
candidate to further their knowledge and experience in the area of textile 
conservation and/or costume history. The Graduate Intern will assist the Isabel 
Bader Fellow in Textile Conservation and Research at the Agnes Etherington Art 
Centre, as well as undertake condition reports, mount-making, conservation 
treatments and/ or storage design as needed in relation to the Fellow’s 
research project. The Graduate Intern will also have access to the 
well-equipped textile laboratory in the Master of Art Conservation Program and 
opportunities to engage and share expertise with the students through lectures, 
seminars and/or workshops.

TERMS
One $12,000 Graduate Internship is awarded fora four-month residency at Queen’s 
University. The Internship begins 7 January 2019. The Intern is responsible for 
travel and accommodation arrangements.

TO APPLY
Recent graduates of conservation training programs are encouraged to apply. 
Please submit the following to 
alicia.boutil...@queensu.ca:

  *   Letter of application outlining training and experience in textile 
conservation
  *   Curriculum vitae
  *   Letters of support from two referees

DEADLINE FOR APPLICATIONS
25 June 2018

For more information about past Fellowships, see Agnes Residencies: 
https://agnes.queensu.ca/research/residencies/



Kate Yüksel | Communications Coordinator
Agnes Etherington Art Centre | 36 University Avenue | Queen's University | 

[Consdistlist] HMSG Paper Conservation Fellowship

[Lussier Homolka]

Could you please post the following to the dist list? Thank you! Stephanie
Lussier

2018-2019 Bank of America Fellowship in Paper Conservation

Hirshhorn Museum and Sculpture Garden
Smithsonian Institution, Washington, D.C.

The Hirshhorn Museum and Sculpture Garden (HMSG) is pleased to offer a
2018-2019
Bank of America Conservation Fellowship in Paper Conservation beginning in
the fall of 2018, for the duration of nine months. The Fellow will work
collaboratively with Hirshhorn paper and objects conservators on the
research and treatment of Robert Rauschenberg’s *Fossil for Bob Morris, *
1965.



The object is a quintessential example of Rauschenberg’s integrated
approach of blending traditional materials with everyday objects. It is
comprised of paper, metal, plastic, rubber, and fabric on canvas. In
addition to displaying general aging and deterioration of its components,
the object has been displayed in various configurations throughout its
history. The project will explore not only traditional treatment and
preventive conservation methodologies, but will address questions related
to the replacement of deteriorated elements with contemporary materials. It
will include extensive research into materials and construction and an
exploration of past exhibition documentation to inform treatment and future
display.



This fellowship will allow the successful applicant the opportunity to
expand their knowledge of paper and contemporary art conservation in a
collaborative setting. The fellow will work closely with the paper,
sculpture, and variable media conservators at HMSG. The fellow will be an
integral member of the conservation team, gaining experience in exhibition
installation and object preparation, and participating in day-to-day
activities in a contemporary art conservation lab.



The fellowship stipend is $35,000.



Eligibility

The successful candidate will be a recent graduate of a recognized training
conservation program in the U.S., Canada, or abroad. The candidate should
have a specialization in paper conservation, with an interest in working
with contemporary art/composite materials.

Please submit in a single PDF document the following application materials:
a statement of interest, your CV with contact information for three
professional or academic references, and two recent treatment reports or
published papers. The application materials should demonstrate the
candidate's range and ability to conduct object-based research and the
ability to approach and develop a treatment plan. Send the application
package to Stephanie Lussier (lussi...@si.edu), Paper and Photographs
Conservator, HMSG.

The deadline for application materials is Friday, June 22, 2018.

This Fellowship award is made possible through the generous support of the
Bank of America.
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[Consdistlist] Upcoming courses from University of Cambridge Museums

[UCM Conservation & Collections Care]

Upcoming courses from University of Cambridge Museums:

Publishing in Conservation

Date: 2 October 2018
Location: The Fitzwilliam Museum, Cambridge, UK
Cost: £85

This one-day course will provide an introduction to publishing in 
conservation and it is aimed at conservators who would like to know more 
about writing up their work for publication.  The course will cover the 
process of getting yours ideas into print, from choosing a good subject 
to finding the right outlet, and from submission to publication.  The 
focus of the course is primarily practical and will include tips on 
structuring an article, peer review, preparing images for publication, 
referencing...and how not to annoy an editor!  Throughout the day there 
will be short practical writing exercises, so it would be helpful if 
attendees could bring examples of works-in-progress or be prepared to 
talk about an idea that they have for publication.



Project Management in Collections Care

Date: 22 October 2018
Location: The British Library, London, UK
Cost: £105

This course will explore the practical application of the principles of 
project management in conservation and collections care.  The 
participants will work on case studies, use tools and implement 
techniques that will help them to run small and mid-size projects 
efficiently.


Both lecturers teach from their practical experience and tailor the 
principles of project management to the needs of conservation and 
collections care.  The course is highly practical and the participants 
learn how to apply project management tools in practice by working 
through different case studies.



Specifications of Display Cases

Date: 26 October 2018
Location: Museum of London, London, UK
Cost: £105

University of Cambridge Museums (UCM) with Historic England and the 
Museum of London is organising a one day seminar about the specification 
and performance of display cases.


This one day seminar will discuss practical issues in the specification 
of display cases.Topics to be covered include materials used in case 
construction and internal fittings, and how to make sure you get the 
display case you asked for.It will look at the relationship between case 
structure and air exchange and controlling the environment within a 
case. In the afternoon a variety of display cases at the Museum of 
London will be examined in detail and their performance scrutinised.



To find out more about any of the courses, please visit 
https://www.museums.cam.ac.uk/conservation/collections-care-conservation-professional-events 
or contact collectionscarecour...@museums.cam.ac.uk



T

--
Assistant Conservator, Collections Care
University of Cambridge Museums
The Fitzwilliam Museum, Trumpington Street
Cambridge CB2 1RB

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[Consdistlist] Tools and Techniques for UV/Visible Fluorescence Documentation Workshop

[Sarah Saetren]

The Foundation of the American Institute for Conservation (FAIC) presents the 
"Tools and Techniques for UV/Visible Fluorescence Documentation" workshop 
August 8 - 10, 2018 at Duke University Libraries in Durham, NC. The workshop 
will be instructed by Jennifer McGlinchey with assistance from Tessa Bronwyn 
Hamilton, and organized by Beth Doyle.

UV/visible fluorescence is a powerful, non-destructive imaging technique that 
can be used as a diagnostic tool and to inform conservation treatment. The 
workshop will provide an opportunity for conservators and conservation 
photographers of all specialties to learn more about the tools and techniques 
needed to create high quality UVA induced visible fluorescence (UV/visible) 
images that can be meaningfully analyzed, compared and viewed. With wider 
understanding and consistent execution by conservators, this technique can 
become increasing useful for sharing data across the field and documenting 
cultural heritage.

The workshop will emphasize the overall goals and general techniques for 
capturing UV/visible images that can be applied to a wide variety of equipment 
and media. Scientific data will be used to illustrate the positive and negative 
aspects of materials, giving participants the knowledge to evaluate new tools 
and equipment. When possible, low-cost and practical options will be presented. 
Equipment will be provided by the instructor and host institution. Participants 
are not expected to bring their own imaging equipment. Participants may bring 
small artifacts for imaging if desired. This workshop is appropriate for 
conservators and conservation photographers of all experience levels and 
specialties.

For details and registration information, visit 
.

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[Consdistlist] Preservation of Photographic Materials Workshop at VMFA, Richmond, VA, USA, August 9-10, 2018

[Emerson, Heather]

The Virginia Museum of Fine Arts (VMFA) is proud to host a workshop on the
history and preservation of photographs taught by Rachel Wetzel, Photograph
Conservator at the Conservation Center for Art & Historic Artifacts (CCAHA).
This two-part workshop is designed for collectors and a wide range of
collections care staff from various departments within art museums,
libraries, archives, historic houses, and universities.  This workshop
supports VMFA’s endeavor to serve audiences on a local, statewide, national
and international basis through the preservation and study of art, and
educational programs.



Part One:  Preservation of Photographic Materials  (Thursday, August 9,
2018 from 9:00 - 5:00)

This one-day workshop will be in lecture format and will cover a variety of
topics related to the stability and preservation of photographic materials.
Subjects to be covered include a brief history of the various photographic
processes and how they deteriorate; how to choose the proper storage
materials for your photographs; how to safely handle and label photographs;
the roll of temperature and environment on photographs; and lighting and
exhibition parameters.  The content of this workshop is relevant for museum
curators, registrars, conservators, archivists, collection managers,
collectors of photographs and photography enthusiasts.



Part Two:  Photographic Treatment for Paper Conservators  (Friday, August
10, 2018 from 9:00 - 5:00)

This one-day workshop will be a continuation of the lecture listed above.  It
will include both lectures and hands-on activities to cover basic treatment
skills and to teach the non-photograph conservator how to stabilize and
preserve photographs in their collection in the absence of a photograph
conservator. Topics to be covered include surface cleaning, consolidation,
mending, humidifying and flattening, hinge application and removal,
inpainting and identifying appropriate housing materials that have passed
the Photographic Activities Test.  Each participant will examine and treat
a set of photographs in the paper conservation lab at the VMFA.  Participants
are encouraged to bring their own hand tools (a suggested list will be
provided).  Due to space limitations, this workshop will be limited to
eight participants and is tailored to professional conservators.  The first
day lecture (Part One) is a prerequisite for this workshop.



Resource materials will be provided for each attendee.  There is a
registration fee of $50 per attendee per session.  Please direct any
questions or application form requests to Heather Emerson at
heather.emerson@vmfa.museum.  Please complete and return the application by
June 24, 2018, for consideration.  Invitations to attend the workshop will
be extended by July 17, 2018.



About the instructor:

*Rachel Wetzel* received her BA in Art History & Architecture and Studio
Arts in 1997 from the University of Pittsburgh, and an MA degree with a
certificate in Art Conservation in 2005 from the State University of New
York, Buffalo State College. She holds a certificate for the completion of
the Advanced Residency Program in Photograph Conservation at the George
Eastman Museum.  Rachel has been a photograph conservator at the
Conservation Center for Art and Historic Artifacts for the past 11 years.
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[Consdistlist] Call for papers/posters: NatSCA Caring for Natural Science Collections

[Mascord, Lucie]

NatSCA is hosting a one-day conference "Caring for Natural Science Collections" 
at the Oxford University Museum of Natural History on the 17th October 2018. 
This day is dedicated to conservation and its role in advancing the care of 
specimens, objects and archives that form our natural science collections.

We are inviting you to propose presentations and posters that focus on sharing 
projects, new techniques and ideas that will help further the field and inform 
the work of other attendees. See the NatSCA website event page 
(https://www.natsca.org/event/2419) for more details and the abstract form.

To submit an abstract to speak or present a poster, please complete the 
abstract form and email to train...@natsca.org . 
The deadline is the 8th July.

Please keep an eye on the NatSCA website for details on booking in the near 
future!

Questions may be directed to myself or 
train...@natsca.org

Lucie Mascord ACR
NatSCA Conservation Rep
Conservation Officer. Natural History. Lancashire Conservation Studios
E: lucie.masc...@lancashire.gov.uk





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[Consdistlist] NATCC Deadline extended: June 18, 2018 Call for Papers and Posters, 12th NATCC, Ottawa-Gatineau, Canada

[Giuntini, Christine]

NATCC Deadline for abstract submission has been extended until June 18, 2018.

Call for Papers and Posters, 12th NATCC, Ottawa-Gatineau, Canada

Lessons Learned -Textile Conservation - Then and Now 12th North American 
Textile Conservation Conference Ottawa-Gatineau, Canada September 23 - 27, 2019

VISIT OUR WEBSITE for complete theme details in French/Spanish/English 
http://natcconference.com

Abstracts for papers and posters may be submitted in English, 
French, or Spanish as a Word document (no PDFs).  Abstracts must have a title, 
be a maximum of 300 words, and accompanied by a short author(s) biography (100 
words maximum). Title, abstract and biography should be included as a single 
document along with author(s) contact information. Contact information should 
include: name, postal and email addresses, telephone numbers. Abstracts should 
not include images or other attachments.

Abstracts must be submitted by June 18, 2018 to 
natcc2...@gmail.com. Please send a message to 
contactna...@natcconference.com, if you 
do not receive prompt confirmation of abstract submittal.

Abstracts will be peer reviewed by the NATCC board. Authors of 
selected papers and posters will be notified by August 3, 2018. All speakers 
are required to submit the full publication-ready version of their paper in the 
language in which it will be presented (English, French, or Spanish) by January 
18, 2019. Authors are responsible for obtaining rights and permissions to 
publish photographs and graphics

Presentations will be 20 minutes long; there will be time for questions.  An 
advance copy of each oral presentation will be required by September 15, 2019 
for purposes of simultaneous translation The papers and posters will be 
published and distributed at the conference along with printed abstracts. 
Please email any questions to 
contactna...@natcconference.com or 
visit our website for further information regarding the conference theme and 
for updates at http://natcconference.com.

We look forward to seeing you in Ottawa!  Cordially, the NATCC Board

--

Christine Giuntini, Conservator

The Metropolitan Museum of Art

New York, NY 10028






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[Consdistlist] ICON Paintings Group Conference 2018 "Wet Paint: interaction between water and paintings", National Museum of Scotland, Edinburgh, Friday 12th October 2018 - CALL FOR POSTERS

[Donatella Banti]

PAINTINGS GROUP CONFERENCE 2018: CALL FOR POSTER PRESENTATIONS



"Wet Paint: interactions between water and paintings"



A one-day conference is to be held at the National Museum of Scotland,
Edinburgh, on Friday 12th October 2018.



There are many ways in which water and humidity can physically alter
paintings, sometimes with disastrous effect; such as staining canvases,
flaking and blanching paint, warping of wooden panels and cockling canvas
supports. However, water is also a useful material for conservators that
can be employed in the treatment of painted surfaces, such as: in the form
of aqueous cleaning solutions, for moisture treatments to reduce
deformations, and as a carrier for adhesives.

This conference will look at the ways in which water and paintings can
interact, and their implications for the conservator. We welcome papers
that address new research or report case studies of treatments. Papers
could address topics such as:

- water damage and its treatment

- relative humidity and its effect on paintings

- water sensitivity of paint

- aqueous cleaning systems

- water soluble restoration materials



The conference program for Oral Presentations is available at
https://www.eventbrite.co.uk/e/wet-paintinteractions-
between-water-and-paintings-tickets-44057892342.



The call for POSTER PRESENTATIONS is now open.

If you would like to be considered, please forward a short proposal using
the poster proposal template (https://technology-trust-
news.org/t/6S6-5O2LK-L8ZMP1-35BUJO-1/c.aspx) to the group secretary at
icon.paintingsgr...@googlemail.com no later than Friday 13th July 2018.

It should be noted that it is our intention to publish the posters as part
of our successful series of postprints.



The receipt of abstracts for oral presentations is now closed.



Guide for Poster Abstracts:

The proposals should be a maximum of 500 words.

We will also require an abstract in word format (approximately 200 words)
with a biography of the author(s) for the conference handouts.



Registration and Booking:

Registration for this event is open and details of tickets and prices can
be found at https://www.eventbrite.co.uk/e/wet-paintinteractions-
between-water-and-paintings-tickets-44057892342.

> 
>



-- 
Dr. Donatella Banti

e-mail: donatella.ba...@gmail.com
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