Aic
A m e r i c a n
I n s t i t u t e
C o n s e r vat i o n
Historic
artistic works
for
of
and
news
AIc
Inside
From the Executive Director 2
AIC News 3
Annual Meeting News 3
FAIC News 3
In Memoriam 5
Allied Organizations 6
Grants and Fellowships 11
Grants Deadlines 12
Worth Noting 13
Health and Safety 14
Speciality Groups 15
Courses, Conferences, and Seminars 20
Positions, Internships, and Fellowships 25
Modern Furniture Conservation Think Tank
Compiled by Steven Pine and Roger Griffith
Introduction
Advances in technology have repeatedly served to create new opportunities for
artists and designers to explore alternative expressions within a traditional format. An
explosion of new furniture-making materials over the past century has given rise to
an incredible variety of design and construction innovations. Experimental use of
highly processed plywood, plastics, metals, laminates, textiles, resins, adhesives, and fin-
ishes allow makers to challenge the limits of traditional furniture forms and further
blur the distinction between function and decoration.The results can be as problem-
atic as they are rewarding, particularly in the areas of preservation and conservation.
Scholarship in support of these new challenges has not yet kept pace with need.
A recent review of the Art and Archaeology Technical Abstracts (AATA) makes clear
the need for increased research into the problems of modern materials. A search of
the heading "materials and objects" since 1999 reveal that though there are 627 titles
under the topic "wood" and 884 titles for "paintings" (for the years 2001-2003 alone)
there are only 86 entries under the heading "organic synthetic materials and modified
natural materials" for that span of six years.
In 2005, at the AIC Annual Meeting in Minneapolis, members of the Wooden
Artifacts and Objects Specialty Groups began discussions about the need for greater
focus on the problems of modern materials in furniture.While at the meeting, Steven
Pine at the Museum of Fine Arts, Houston, Roger Griffith at The Museum of
Modern Art, Michael Podmaniczky at Winterthur Museum, Francesca Esmay at The
Chinati Foundation, Michelle Barger at the San Francisco Museum of Modern Art,
and Mecka Baumeister at the Met formed a planning committee to develop a pro-
gram for an eventual conference on modern materials. Discussions continued over the
course of several months and culminated in a meeting among invited participants in
order to delineate topics, questions, and recommendations to further foster this topic.
From the beginning there was a clear understanding that discussions should
include all parties that influence the design, production, collecting, preservation, and
curatorial issues for these objects.Therefore, scientists, curators, educators, and design-
ers were included as part of an advisory committee to help develop the project.
The goals for this project include the start of a broad and inclusive dialogue that
will support technical research and explore pro-active strategies among many disci-
plines.Toward this end, conservators, curators, collectors, and designers are now
actively involved in identifying the scope of our challenge and initiating strategies that
will help improve our understanding of practical means to preserve this important
expression of our artistic and cultural heritage.
Recent History of Professional Discussion on Modern Materials used
in Furniture
One of the first major meetings dedicated to the discussion and examination of
modern materials was held in Ottawa, Canada, in 1993 by the Canadian Conservation
May 2006
Vol. 31, No. 3
continued on page 9
Plan Ahead--2007 and
2008 Annual Meetings
Moving to APRIL
· AIC's 35th Annual Meeting
in Richmond,VA
April 16-20, 2007
Theme: Fakes, Forgeries, and
Fabrications
Museum Exhibit Lighting
2007--A pre-session work-
shop, April 16-17, funded in
part by NEH.
· AIC's 36th Annual Meeting
in Denver, CO
April 22-25, 2008
Theme: Unique Collaborations
Mark your calendars and join
us in April. Deadline revisions
will follow to assist in the
transition of the 2007 and
2008 Annual Meetings from
June to April.
2 AIC NEWS, May 2006
AIC News (ISSN 1060-3247) is published
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Deadline for July editorial submissions
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We reserve the right to edit for brevity and clarity.
ADVERTISING
AIC accepts position-available ads only from equal
opportunity employers. All position ads must
conform to the standards for equal opportunity
employment.The cost of Internships and
Fellowships, Positions Available, and Classified Ads
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Deadlines for advertising copy are: February 10,
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December 10.
All ads should be submitted to Ruth Seyler at
rseyler@aic-faic.org.
A
IC NEWS STAFF
Lisa Goldberg, Editor
Eryl P.Wentworth, Managing Editor
Jennifer Andruzzi, Production Editor
Ruth Seyler, Membership Director
Sheila Paige, Meetings & Design Director
Jessica Oplak, Administrative Assistant
© Copyright 2006. AIC News cannot be reproduced in
its entirety without permission from AIC. Individual
articles may be reproduced if permission has been granted
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The paper used in this publication meets the minimum
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AIC NEWS
From the Executive Director
Emergency response has been the most pressing
recent issue facing AIC since the catastrophe left in the
wake of the 2005 hurricane season. Although AIC had
provided emergency response training to our members
even before the 2000 NEH-supported Train the
Trainers programs for emergency response, it has
become clear that we need to expand the concept by
defining what it means to be ready as a cultural emer-
gency responder.We need to provide a wider range of
training workshops to collection care specialists and
curators as well as conservators. And, we need to be cognizant of the roles of other
responders, such as FEMA and state historic preservation offices, in relation to our
role as "First Preservers"--a term coined by Allen Weinstein, Archivist of the United
States.
As detailed in previous AIC newsletters, AIC's initial response following
Hurricane Katrina included coordination of those in the conservation community
who were willing and able to help. This was facilitated by the efforts of AIC mem-
bers David Goist, Bevery Perkins and other members of the Emergency
Preparedness, Response and Recovery Committee (EPRRC). Members also partici-
pated in a volunteer questionnaire, which drew more than 225 responses, developed
various survey forms, and assisted cultural organizations in securing emergency
funds. As a member of the Heritage Emergency National Task Force, AIC also par-
ticipated in regular conference calls organized by Heritage Preservation and used
information gained in these calls to communicate more effectively with other
responding organizations and those in need.
Since the initial response to the disaster, AIC President Nancy Odegaard and
the Board of Directors have developed broad initiatives that will enable AIC to
respond to future disasters with even more readiness. AIC`s efforts to provide train-
ing and information to our members has increased, with the presentation of three
well attended wet recovery workshops in March, and the upcoming issues session at
the AIC annual meeting in June. In addition, AIC has submitted a proposal to IMLS
to conduct a series of week-long Advanced Workshops in Emergency Response and
Salvage at museums across the country.
AIC also continues to develop a nationwide information network of contacts
and resource organizations to facilitate communication with and response by con-
servators for emergencies involving cultural materials within regions or states. In
coming months, AIC will work to develop state-by-state response guidelines that
include how to work in conjunction with government agencies such as FEMA, state
historic preservation officers, and the Department of Homeland Security. AIC is
reaching across organizational boundaries, through its role as chair for the On-Site
Assistance Working Group for the Heritage Emergency National Task Force, which
will focus on such issues as coordinating the efforts of preservation experts and
maintaining and publicizing lists of specialists/volunteers.
A heartfelt thanks to everyone who assisted in the 2005 emergency response
effort and who continue to seek ways to improve response efforts in the future. AIC
has joined this national initiative and will continue to involve and inform our mem-
bers as work proceeds.
--Eryl P.Wentworth
Executive Director, AIC/FAIC
AIC News
Don't Forget to Vote
In order to streamline the voting process
and to use your dues dollars effectively, AIC
has posted the 2006 Board of Directors elec-
tion ballots online.We will not be mailing out
ballots this year. (See list of nominees, page 14.)
Voting is open until May 16.Visit the
AIC website (www.aic-faic.org) and follow
the link to the "online ballot" section.You
will be able to view the candidate slate, read
candidate information, and download a ballot.
Please follow the directions on the ballot and
email, fax, or mail ballots to AIC by May 16.
Only those ballots received in the AIC office
on or before May 16 will be counted.
If you do not have Internet access please
call AIC at (202) 452-9545 ext. 10 to request
that a ballot be faxed or mailed to you.
Take a minute to download your ballot
and vote--after all, AIC is YOUR association.
Annual Meeting News
Call for Papers: 2007 AIC Annual
Meeting General Session, Richmond,
Virginia, "Fakes, Forgeries, and Fabrications"
The 2007 AIC General Session will
explore aspects of fakes, forgeries, and fabrica-
tions through a series of papers on historical per-
spectives of fakes and forgeries, methods of fabri-
cation and detection, conservation, valuation and
appraisals, legal determinations, criminal and civil
investigations, marking and disposal, etc.
The program committee welcomes rec-
ommendations for potential speakers and sub-
missions from conservators, art historians,
conservation scientists, appraisers, attorneys,
law enforcement, and other allied profession-
als. Individuals interested in submitting a
paper for the General Session should prepare
an abstract of no fewer than 500 words and
submit it by July 21, 2006, to James Martin at
martin@orionanalytical.com or to:
The AIC 2007 General Session
Committee
c/o James Martin
Orion Analytical, LLC
Box 550
Williamstown, MA 01267
FAIC News
FAIC Awards nearly $30,000 in
Grants and Scholarships
The Foundation of the American
Institute for Conservation (FAIC) gave out 41
grants and scholarships this spring which
totaled $29,782.The awards will support pro-
fessional development, student attendance at
professional meetings, lectures, and a Regional
Angels project. Funding for the grants and
scholarships comes from donations by AIC
members, Specialty Groups, and friends, as
well as earnings from invested funds.
Seven FAIC Individual Professional
Development Scholarships were awarded.The
recipients are:
·
Susan Costello, Southern Italy Research
Trip
·
Michele Derrick, Metals Conservation
Summer Institute
·
Judith Eisenberg, "Analytical
Techniques" workshop
·
Ellen J. Pearlstein,Technical Study of the
Rosebud Winter Count
·
Sylvie Penichon, Reducing Risks to
Collections
·
Ken Sutherland, GCMS course
·
Renee A. Stein, Stonecarving Tutorial
with Peter Rockwell
Fifteen additional FAIC Individual
Professional Development Scholarships were
made possible by grant funding from the
National Endowment for the Humanities to
help support attendance at AIC workshops
supported by the NEH.The recipients are:
·
Rita Albertson, "Tear Repair of
Paintings" workshop
·
Gillian Boal, "Water and Paper"
workshop
·
Bart J.C. Devolder, "Tear Repair of
Paintings" workshop
·
Kevin Gleason, "Tear Repair of
Paintings" workshop
·
Heather Hamilton, "Water and Paper"
workshop
·
Scott Homolka, "Water and Paper"
workshop
·
Greg Johnson, "Adhesives for
Conservation" workshop
·
Stephanie Lussier, "Water and Paper"
workshop
·
Michael Morris, "Adhesives for
Conservation" workshop
·
Won Ng, "Adhesives for Conservation"
workshop
·
Sarah Nunberg, "Adhesives for
Conservation" workshop
·
Laura Rivers, "Tear Repair of Paintings"
workshop
·
Dawn Rogala, "Tear Repair of
Paintings" workshop
·
Jennifer Sainato, "Water and Paper"
workshop
3 AIC NEWS, May 2006
In
Appreciation
AIC thanks Ann
Hofstra Grogg
and Susan E.
Burke for
serving as copy
editors for the
Journal of the
American
Institute for
Conservation
for
ten and seven
years
respectively.
Their skills and
dedication have
helped make
the Journal the
respected
publication it is
today. We wish
them well in all
their future
endeavors.
·
Mary Studt,"Water and Paper" workshop
An FAIC Regional Angels Grant was
made to Morwenna Blewett to organize vol-
unteer work at the American Legation in
Morocco.
FAIC Lecture Grants were made to:
Susan B. Jackson for her lecture,
"Conservation of Gilded Surfaces" and to Tad
D. Fallon for his lecture, "The French-
American Partnership: New Perspectives on
an Ancient Craft." Both lectures will be held
in conjunction with the "Gilding at the
Smithsonian 2006" event which will be pre-
sented in September by the Smithsonian
Associates and the Society of Gilders in
Washington, D.C.
With the financial support of AIC's
Specialty Groups and donations from individ-
ual members, 10 FAIC George Stout Grants
were made.The George Stout fund supports
conservation students who wish to attend
professional meetings.The recipients are:
·
Amy Crist, AIC Annual Meeting
·
Kara R. Dotter, AIC Annual Meeting
·
Molly Gleason, AIC Annual Meeting
·
Heather Hamilton, AIC Annual Meeting
·
Sofia Issaeva, AIC Annual Meeting
·
Marieka Kaye, AIC Annual Meeting
·
Kelly Jean Keegan, Modern Paints
Uncovered symposium
·
Kristen Loudermilk, AIC Annual
Meeting
·
Kathleen Mullen, AIC Annual Meeting
·
Elizabeth P.Werden, AIC Annual Meeting
Four FAIC Carolyn Horton Grants were
made this year.The recipients are:
·
Sylvia Rodgers Albro, researching the
Zonghi Baravelli paper collection in
Fabriano
·
Sarah Freeman, "Water and Paper"
workshop
·
Chie Ito, "Microscopy for Art
Conservators" workshop
·
Steven Loew, "Removal of Pressure-
Sensitive Tapes and Tape Stains"
workshop
One FAIC Christa Gaehde Grant was
made to Minah Song for the "Modern Paints
Uncovered" symposium.
No FAIC Workshop Development Grants
were awarded in this cycle. A special funding
deadline of July 1 has been added for
Individual Professional Development
Scholarships for the remaining 2006 NEH-
funded workshops ("Water and Paper" and
"Adhesives for Conservation").The next regu-
lar funding deadline is September 15, 2006 for:
·
Individual Professional Development
projects
·
Workshop Development projects
·
Lecture proejcts
·
Regional Angels projects
·
the new Small Meeting Support projects
The next Christa Gaehde and Carolyn
Horton deadlines are February 1, 2007.
Because the 2007 AIC Annual Meeting
will be held April 1620, the next George
Stout grant deadline has been moved up to
December 15, 2006. Descriptions, guidelines,
and forms are available at http://www.aic-
faic.org or from the AIC office.
Special Scholarship Deadline for AIC
Workshops
A special application deadline of July 1,
2006, has been established for scholarship
requests to attend the "Water and Paper" and
"Adhesives for Conservation" workshops.These
scholarships are made possible by a grant from
the National Endowment for the Humanities
and are available only to United States resi-
dents.To apply, use the forms and guidelines for
the "FAIC Individual Professional Development
Scholarships" found on the AIC Web site
(www.aic-faic.org), or from the AIC office.
Applications and the required letters of support
must arrive in the AIC office by July 1.
Yoshiyuki Nishio Awarded 2006
FAIC Samuel H. Kress Conservation
Publication Fellowship
The Foundation of the American Institute
for Conservation (FAIC) awarded a 2006 FAIC
Samuel H. Kress Conservation Publications
Fellowship to Yoshiyuki Nishio. Mr. Nishio is
preparing a book and accompanying DVD
entitled Japanese Folding Screens.The materials
will describe the steps involved in the making
of Japanese folding screens, and will also cover
issues of conservation, preservation, and mainte-
nance.The book and video will serve as a visual
resource for conservators, curators, collection
managers, art collectors, historians, and conser-
vation and art students. His reference work will
fill a major gap in the literature available in
English or Japanese on this topic.
Yoshiyuki Nishio is a Fellow of AIC. His
background combines traditional apprenticeship
and academic training. Mr. Nishio received a
BFA in studio art from Nihon University,Tokyo,
and then apprenticed with Masako Koyano at
the Art Conservation Lab in Tokyo. In 1975, Mr.
Nishio won a John D. Rockefeller III Fund
4 AIC NEWS, May 2006
November 1
Deadline for
FAIC Samuel
H. Kress
Conservation
Publication
Fellowships
The FAIC
Samuel H. Kress
Conservation
Publication Fel-
lowships offer
AIC Professional
Associates and
Fellows support
to write book-
length manu-
scripts on con-
servation topics.
The deadline for
receipt of appli-
cations for antic-
ipated funding
for 2007 projects
is November 1,
2006.
The fellowship
awards $25,000
to allow the
recipient up to
18 months to
complete a man-
uscript. Research
should be largely
complete before
applying. Sub-
mission of one
or more sample
chapters is
strongly recom-
mended.
Since 1994,
FAIC has
Fellowship to study at the Cooperstown
Graduate Program in the Conservation of
Historic and Artistic Works. He worked at the
Freer Gallery of Art and the Museum of Fine
Arts, Boston, before establishing the Nishio
Conservation Studio in Washington D.C.
In Memoriam
Gustav Berger (1920-2006)
Gustav Berger, a paintings conservator
known for his innovative approaches to con-
servation, died on March 5, 2006 at the age of
85. He was born in Vienna, Austria, on July
28, 1920, studied Civil Engineering at the
Haifa Technical Institute, and was trained in
photogrammetry during his military service
in World War II. Berger moved to New York
in 1954 and worked with Julius Lowy for two
years, Kress conservator Mario Modestini for
eight years (1956-1964), and assisted Frick
conservator William Suhr from 1964 to 1967.
Berger built one of the first hot tables in the
United States for Modestini, and credited
Suhr for suggesting that he invent a new
adhesive. Berger noted, "Since I had gained
the reputation of a troubleshooter, Suhr asked
me to formulate an adhesive that would be
stronger than wax, free of the hazards of
aqueous glue-paste, stick to oil paint, and be
reversible." He received his first research grant
in 1967, and was lining paintings with BEVA
371 by 1969. BEVA (Berger ethylene vinyl
acetate) became the most widely used paint-
ings conservation adhesive by 1984, according
to a survey conducted by Gerry Hedley at
the Courtauld. Berger received at least 16
additional research grants, published more
than 60 papers, and, for more than 20 years,
taught workshops in Canada, the United
Kingdom, Italy, Austria, Spain, the
Netherlands, Brazil, and in locations through-
out the United States. For his innovative
work on the conservation of the Atlanta
cyclorama he received the Georgia
Governor's Award for Excellence in 1982 and
a standing ovation following his paper on the
cyclorama treatment at the AIC Annual
Meeting. He received additional honors from
the Art Restorers Association of the
Netherlands, the IIC-Spanish Group, and in
Poland following his treatment of the
Panorama of Raclawice. Berger was made an
Honorary Member of AIC in 1991.
Berger and his wife Mira always gave
their time and resources generously.When I
taught the introductory "block," and brought
the ten Winterthur/UD first-year students to
New York each year, the Bergers would plan
their vacation around our visit, give demon-
strations, distribute samples and information
packets, and serve tea and cakes. Diane Falvey
and Lambertus Vercouteren remember that vis-
iting professionals were received with similar
generosity and they recall Berger's passion and
great enthusiasm for his work. Berger trained a
number of young conservators and assistants.
Peter Fodera remembers him reciting poems,
quoting Goethe, or humming along to pieces
on the classical radio station. Gloria Giffords
remembers Berger's humor and his anecdotes
in various accents. Boris Sternberg posted on
the studio wall "God made Gustav, and Gustav
made BEVA." His co-researcher William
Russell praised Berger's "uncanny ability to
identify fundamental behaviors observed in a
variety of contexts." Christopher Stavroudis
was first drawn into the field by Berger's 1975
article on BEVA and notes,"From developing
BEVA and leading the movement to improve
lining techniques, to the foam rubber `comput-
ers' that showed the distribution of stresses at
tears, to the vast body of literature he has con-
tributed to the field, he changed the mind-set
we bring to problem solving in paintings con-
servation." He is survived by his wife, his sons
Ron and Raphael, five grandchildren, and one
great granddaughter.
--Joyce Hill Stoner
jhstoner@udel.edu
Tony Werner (1911-2006)
Alfred Emil Anthony Werner, chemist
and conservation scientist, died in Hobart,
Tasmania, on January 21, 2006 at the age of
94. During a long and illustrious career he
was perhaps best known to the field at large
as Keeper of the Research Laboratory at the
British Museum from 1959 to 1975; and as
the author of The Scientific Examination of
Paintings (1952) and, in collaboration with
H.J. Plenderleith, the author of the revised
second edition of The Conservation of
Antiquities and Works of Art (1971).
Werner was born in Dublin, Ireland, on
June 18, 1911. His father was a professor of
chemistry at Trinity College, Dublin, and
Werner received his BA in chemistry with
first class honors from Trinity in 1933, his
MSc in 1934, and his doctorate from the
University of Freiburg in 1937. He then
returned to Dublin and was teaching organic
chemistry at Trinity when in 1947 he
answered an advertisement in Nature for a
position as a research chemist at the National
Gallery in London. In an AIC interview in
1976,Werner described buying a copy of
Gettens and Stout (Paintings Materials; A Short
5 AIC NEWS, May 2006
awarded 30 pub-
lication fellow-
ships.
Complete guide-
lines and appli-
cation forms are
available on the
AIC Web site at
http://aic.
stanford.edu/faic/
grants/index.
html, or contact
Eric Pourchot at
(202) 452-9545
ext. 12; epour-
chot@aic-faic.
org.
6 AIC NEWS, May 2006
Encyclopedia), which he read on the
boat to England in order to prepare for
the interview.Thus began a career of
more than 30 years, involving conser-
vation research, teaching, and travel.
In the post-war period there was a
great deal of interest in the possible
application of modern synthetic poly-
mers to conservation treatments.Two of
his most notable achievements were his
work on synthetic varnishes and the
development of a wax for use with
wood, stone, and metalwork. During his
time at the National Gallery he also
worked on the characterization of resins
and on the development of microscopic
sections for paint analysis.With Joyce
Plesters he was involved in the scientific
examination of the Piltdown man,
which led to the unmasking of the hoax
when they were able to show that the
staining on the teeth was not natural.
In 1954 Werner left the National
Gallery for the post of Principal
Scientific Officer at the British
Museum, and in 1959 was appointed
Keeper of the Research Laboratory.
Under his Keepership many of the
great treasures of Ireland including the
Tara Brooch and the Ardagh Chalice
were studied and conserved. He also
instituted a project to study the com-
position of copper alloys in antiquities
and the results of the laboratory's work
on the Sutton Hoo ship burial were
published in four volumes. During the
1960s and 70s he traveled extensively
as a consultant and advisor to
UNESCO and the British Council.
In 1973 he was asked to carry out a
survey of conservation needs in the
Hawaii and the Pacific region. Much
to his surprise and due to a grant from
the National Endowment for the Arts, in
1974 the Pacific Regional Conservation
Center was established at Bishop
Museum in Honolulu and Werner
(whose wife had died the previous year
after a long illness) took an early retire-
ment from the British Museum to
become the Conservation Center's first
Chairman.The Center provided conser-
vation treatment for member muse-
ums, libraries, and archives throughout
the Pacific, and collections care training
for the staff of these institutions. Under
Werner's leadership, membership in the
Center grew from 18 organizations to
43.The Center also provided internships
for graduate students from conservation
training programs in the United States,
Canada, and England, and cooperated
with the East-West Center museum stud-
ies program at the University of Hawaii.
Werner continued to travel throughout
the Pacific until his retirement in 1982.
Werner was active in a number of
professional organizations including the
International Institute for Conservation
of Historic and Artistic Works (IIC)
where he was elected a Fellow in 1952
and served as President from 1971 to
1974 and Vice President from 1974 to
1996. He was awarded the Forbes Prize
in 1992 and an Honorary Fellowship in
2001. He was a Fellow of the Society
of Antiquaries of London, a member of
the Royal Irish Academy, a Fellow and
President of the Museums Association
in England, and a Fellow of the
American Institute for Conservation. In
1997 the British Museum dedicated the
proceedings of a conference on "The
Interface Between Science and
Conservation" to him.
After his retirement, it was Werner's
practice to spend the southern summer
with his younger daughter and her fam-
ily in Hobart,Tasmania. He would then
travel to England to visit his elder
daughter, friends, and colleagues during
the northern summer.The last of these
seasonal migrations was made when he
was in his early 90s, when he began
spending the full year in Tasmania. He
continued in relatively good health until
late December of 2005, enjoying fine
wine, good food, lively conversation, test
cricket matches, the Times crossword,
and playing chess, croquet and (we are
reliably informed) a sharp game of
bridge. His warmth and charm will be
missed by all who knew him.
Werner married opera singer
Marion Jane Davies in 1939 and they
had two daughters: Mari Louise who
lives in Suffolk, United Kingdom, and
Antoinette (Toni) who lives in Hobart.
His grandson Richard, a Catholic priest,
officiated at the funeral service and his
daughter Toni and son-in-law Peter
hosted an Irish wake at their home after
the service. His ashes have been returned
to England and a second memorial cele-
bration for friends and colleagues will be
held in Suffolk in May.
--Mary Lee Wood
mlee@mohawk.net
Allied Organizations
Heritage Preservation News
New Edition of the "Wheel" Rolls Out
The Emergency Response and
Salvage Wheel, the internationally
esteemed tool used for protecting col-
lections from disasters, has been
released in a new edition featuring a
water-resistant coating, magnets on the
handle for easy display, and a revised
section on electronic records.The
Wheel also has a new corporate spon-
sor, BMS Catastrophe.
The need for accurate disaster
response and recovery information to
protect collections is greater than ever
after the record-setting 2005 hurricane
season.This year is predicted to have
another very active hurricane season.
The Emergency Response and
Salvage Wheel is produced by the
Heritage Emergency National Task
Force, a partnership of 40 government
agencies and national service organiza-
tions.The task force is an initiative of
the nonprofit Heritage Preservation,
and the Federal Emergency
Management Agency (FEMA).
Nonprofit organizations and gov-
ernment agencies may purchase the
Wheel for $7.95.To order, visit the book-
store at www.heritageemergency.org or
call toll-free (888) 388-6789.
Scholarship Award Honors Architects
The College Art
Association/Heritage Preservation
Award for Distinction in Scholarship
and Conservation recognizes an out-
standing contribution by one or more
persons who, individually or jointly,
have enhanced the understanding of
art through the application of knowl-
edge and experience in conservation,
art history, and art.This year, Don
Kalec and John Thorpe have been
selected as the recipients of this award
for their sensitive approach to architec-
tural preservation and, more specifical-
ly, for their roles in the groundbreaking
restoration of Frank Lloyd Wright's
home and studio in Oak Park, Illinois.
Don Kalec is the co-founder and
first director of the Historic
Preservation Program at the School of
the Art Institute of Chicago. John
Thorpe is a widely respected restora-
tion architect and a principal in the
7 AIC NEWS, May 2006
award-winning firm of John Thorpe
and Associates. Kalec teaches the
School of the Art Institute's
Restoration Design Studio and has
published on Charles Rennie
Mackintosh and his contemporaries
and on Frank Lloyd Wright's work in
Madison,Wisconsin.Thorpe has been a
prominent practitioner in the field of
historic preservation in Chicago since
the 1970s. He is the architect of record
for the restoration of many important
buildings in the Midwest, including
houses by Frank Lloyd Wright in
Illinois, Indiana, Nebraska, and Ohio.
2006 Application Update
The Conservation Assessment
Program (CAP) received 205 applica-
tions for the 2006 program, 19 of
which were from museums in
federal-declared disaster areas as a result
of Hurricanes Katrina and Rita.These
applications received expedited review
and were notified of their acceptance
into CAP within 10 business days of
receipt of their completed application.
The 2007 CAP application will
be mailed on October 6, 2006.
Applications will be accepted on a first-
come, first-served basis until the post-
mark deadline of December 1, 2006.
The CAP office will be marketing the
program throughout 2006, with the
majority of our marketing efforts tak-
ing place during the summer.
If you know of an institution that
could benefit from CAP or if you have
thoughts about reaching institutions in
your area, we would like to hear from
you! We are also happy to send CAP
brochures and sample applications to
appropriate venues. Please contact the
CAP office at cap@heritagepreserva-
tion.org or (202) 223-0800.
Preserving Sculpture after Katrina: A
Monumental Task
Preservation and public art groups
in New Orleans and along the Gulf
Coast are still cleaning up and working
to determine the extent of damage
from Hurricane Katrina.
This task is overwhelming for
many local art and preservation profes-
sionals. Many cultural groups' offices
suffered damage to office equipment
and records, and many staff members
could not return to work until late
2005. Just when they needed additional
support, arts and culture organizations
and city agencies have reduced staff
due to lack of funding.
Conservation, art, museum, and
preservation professionals have volun-
teered time, money, and services. Save
Outdoor Sculpture! sponsor Heritage
Preservation is among the many nation-
al organizations responding to the needs
of cultural communities in hurricane-
ravaged areas. Along with the Federal
Emergency Management Agency
(FEMA), it manages the Heritage
Emergency National Task Force, a part-
nership of 40 federal agencies and
national service organizations. SOS! is
helping local groups address the needs
of their sculpture and public art collec-
tions with information and guidance.
In New Orleans, Save Our
Cemeteries helps preserve the five local
cemeteries on the National Register of
Historic Places, including Lafayette
Cemetery No. I, a World Monuments
Fund Watch List site, and St. Louis
Cemetery No. I, a Save America's
Treasures site. All New Orleans' historic
above-ground cemeteries were impact-
ed by the storm. Four of the five ceme-
teries were flooded for over two weeks,
which wreaked havoc on the wrought
iron metalwork that encloses the tombs
and accelerated the deterioration of
fragile brick and mortar structures and
treasured sculpture.
Save Our Cemeteries is now
helping the cemetery owners--the city
of New Orleans, the Archdiocese of
New Orleans, and private organiza-
tions--assess the extensive wind and
water damage to the properties and
secure funding. FEMA support may
help the conservation of the grounds
and walls of the cemeteries, but the
tombs themselves are the property of
individual families and are not eligible
for FEMA support. Save Our
Cemeteries is seeking private funds to
support an assessment of the properties
and markers and conservation of
gravesites.
The Arts Council of New
Orleans, the coordinating agency for
New Orleans SOS!, faces similar obsta-
cles. It administers the Percent For Art
Program on behalf of the city of New
Orleans. In the past 20 years, the
Percent Program has commissioned 57
site-specific artworks, purchased more
than 200 artworks, initiated communi-
ty outreach and education programs,
and maintained the Percent Collection
on an ongoing basis. Additionally, the
Arts Council serves as an information
resource for city agencies that are also
responsible for public art.
Selling off at low prices good condition
equipment, instruments, loggers, hygrometers,
light meters, cameras, lighting, chemicals, acti-
vated carbon, RH conditioned silica gel, RH
calibration chambers, authentic pigments, vari-
ous supplies, historic books, reports, publica-
tions, etc, etc
NATHAN STOLOW PhD, AIC FELLOW
PO BOX 194
WILLIAMSBURG VA 23187-0194
PH 757-258 5212
E-MAIL: stolconres@aol.com
STUDIO CLOSING SALE STOLOW, AIC FELLOW
Will supply descriptive lists DON'T DELAY!
8 AIC NEWS, May 2006
Before the storm, the Percent
Program operated with a full-time staff
of two and several contractors.Today,
Director Mary Len Costa is the only
staff member. She has removed Percent
artwork from damaged libraries, recre-
ation centers, and other flooded loca-
tions and has found temporary storage.
Her current priorities include securing
climate-controlled storage for the art,
conserving the damaged artworks, and
completing a formal post-Katrina
assessment of the Percent Collection.
The Arts Council has worked dili-
gently to complete this assessment to
aid the city of New Orleans (the offi-
cial owners of the artwork) in applying
for relief funds.Yet due to lack of Arts
Council staff and funding, the inability
to access several flooded public facilities
and entire neighborhoods in the days
following the storm, along with loss of
city personnel and the breakdown in
communication systems, the job of esti-
mating the need to conserve this art is
incomplete.The Arts Council estimates
that approximately 10 percent of the
Percent Collection--both indoor and
outdoor artwork--has been damaged
or destroyed.
Other artworks in the city are the
responsibility of the city's parks and
parkways and property management
departments.The condition of these
sculptures is also in question.The Arts
Council and these city departments are
working in cooperation to secure pub-
lic and private funding.
City and preservation profession-
als in Mississippi face struggles similar
to those of their colleagues in New
Orleans: working out of trailers,
reduced staff, and destroyed office
property.They are also dealing with
competing priorities; historical build-
ings in danger of being razed have
understandably become a top priority.
Arts and preservation organiza-
tions and agencies in the areas affected
by Katrina look to FEMA for support.
FEMA can support stabilization and
treatment of damaged artwork and
other collections. Sculpture owners
must first provide their own damage
report that includes a list of needy art-
works with cost estimates for conserva-
tion treatment. SOS! is helping local
groups navigate the FEMA application
process, find eligible conservators, and
locate alternative funding sources. For
FEMA's policy regarding stabilization
and treatment of collections visit
www.fema.gov/rrr/pa/9524_6.shtm.
The Regional Alliance for
Preservation (RAP); New
Website
The Regional Alliance for
Preservation (RAP) is pleased to
announce the launch of its new Web
site at www.PreserveCollections.org.
RAP is a national network of nonprof-
it organizations with expertise in the
field of conservation and preservation.
This website provides information and
resources on preservation and conser-
vation for cultural institutions and the
public throughout the United States.
2006 AIC Annual Meeting
U s i n g A r t i f a c t s : I s C o n s e r va t i o n C o m p ro m i s e d ?
When does society have the right to use cultural property? Access to and use of cultural
property is constantly debated.When deciding whether to use an object, assessment of
possible damage or alteration to the object's physical condition, perceived value, or future
use is usually weighed.This year's meeting will explore the criteria that influence the
decision-making process.
34th Annual Meeting
June 16 19, 2006
Westin Providence
Providence, RI
Tentative Schedule of Activities
Friday June 16
Workshops and Tours
Saturday June 17
General Session, Specialty Group Sessions,
Exhibit Hall, Opening Reception
Sunday June 18
General Session, Specialty Group Sessions,
Exhibit Hall, Issues Session, AIC Business
Meeting, Party2
Monday June 19
Specialty Group Sessions
For more information, please
contact:
AIC
1717 K Street NW
Suite 200
Washington, DC 20036
(202) 452-9545
info@aic-faic.org
9 AIC NEWS, May 2006
Institute."Saving the Twentieth
Century:The Conservation of
Materials" initiated the professional
focus in the conservation field on issues
related to the care of modern materials.
Papers included topics such as fabrica-
tion techniques, deterioration mecha-
nisms, chemistry of materials, analysis,
safe storage, and useful case studies. In
1997,The Foundation for the
Conservation of Modern Art and the
Netherlands Institute for Cultural
Heritage hosted the conference
"Modern Art:Who Cares?" in
Amsterdam.The symposium's objective
was to improve the quality of the
preservation of art made from contem-
porary and modern materials, as well as
to form an interdisciplinary, internation-
al collaboration. A 1998, three-day con-
ference held at the Getty Center,
"Mortality Immortality? The Legacy of
20th Century Art," brought together
professionals from a range of disci-
plines--artists, museum directors, cura-
tors, conservators, art historians, dealers,
collectors, and scientists, as well as a
philosopher and a lawyer--to offer their
individual perspectives on the intent of
the artist, the effect of the art market,
ways to cope with rapidly evolving
media technologies, and fine art as pop-
ular culture. Then in 2004, the
International Institute for Conservation
held its congress,"Modern Art New
Museums," in Bilbao, Spain and 45
papers on the ethical and practical con-
siderations of caring for modern art
were presented. Although this list
demonstrates a degree of interest and
research with regard to modern materi-
als within the conservation field, only
the 1993 CCI meeting paid significant
attention to furniture per se.
More recently, a series of six
symposia were presented in Weil am
Rhein, Germany, at the Vitra Design
Museum. These symposia titled, "The
AXA Art Conservation Project in
Cooperation with the Vitra Design
Museum," specifically addressed the
conservation of modern furniture
and objects through a project lead by
Katherine Kessler. The project was
dedicated to the research on synthet-
ic materials in four notable furniture
pieces in Vitra's collection. The four
pieces were selected as case studies in
order to develop conservation treat-
ment methods for these chairs and to
serve as a framework for greater dia-
logue on this subject during the sym-
posia. Other papers addressed issues
associated with manufacturing tech-
niques of prototypes and production
models, properties of plastics and
foams, storage issues for degrading
plastics, and novel treatment strate-
gies for foams and plastics. These
topics can continue to be developed
in future conferences and studies
along with broader issues such as
exploring differences in collecting
and treatment philosophies for man-
ufactured versus studio furniture;
examining the impact of industrial
materials and techniques on object
stability; and considering the limits of
intervention on behalf of fugitive
materials.
Discussion and Strategy
To better understand the scope of
creating a multi-disciplinary dialogue, the
Chipstone Foundation and its executive
director, Jonathan Prown, sponsored and
funded a planning meeting on February
4, 2006, in Milwaukee.The intent of the
meeting was to foster informed dialogue
among the participants with the intent of
recognizing the diverse perspectives of
each discipline and identifying common
ground for future collaborations and
exchange of information that will
improve the condition and preservation
of modern and contemporary furniture.
In addition to the planning committee
(formed at the 2005 AIC Annual
Meeting), a diverse group of participants
were invited, including Edward Cooke,
Chair of the Department of Art History
at Yale University; John Dunnigan, Head
of the Department of Furniture Design
at the Rhode Island School of Design;
Cara McCarty, Curator of Decorative
Arts and Design at the St. Louis Art
Museum; Chris McGlinchey,
Conservation Scientist at the MoMA;
continued from page 1
The new Web site includes a calendar
of training and educational opportuni-
ties; a list of conservation and preser-
vation services provided by RAP
members; links to related organizations;
and a "Publications & Resources" sec-
tion with a searchable bibliography of
full-text reports and documents, and
specialized bibliographies prepared to
answer common collection care con-
cerns for libraries, archives, museums,
historical societies, and house muse-
ums.The RAP Web site is made possi-
ble through funding from the National
Endowment for the Humanities.
Shiro Kuramata, Miss Blanche Chair,1988,
Paper flowers, acrylic resin, and aluminum.
Collection of Museum of Modern Art,
New York. Gift of Agnes Gund in honor
of Patricia Phelps de Cisneros.
Gaetano Pesce, Golgotha Chair, 1972,
Dacron filled and resin soaked fiberglass
cloth. Collection of Museum of Modern
Art, New York. Estée and Joseph Lauder
Design Fund.
10 AIC NEWS, May 2006
Roman Passarge, Managing Director at
the Vitra Design Museum, Germany;
Jonathon Prown of Chipstone; and Cindi
Strauss, Curator of Modern and
Contemporary Decorative Arts at the
MFAH.
During the Milwaukee meeting
various questions were raised and
addressed in a program that was organ-
ized and moderated by Steve Pine and
Roger Griffith.The meeting addressed
and discussed the following:
·
The lack of documentation of
original design specifications for
mass produced items.
Relationships between
manufacturers and museum
professionals (conservators,
registrars, and curators) need to
be strengthened where possible.
·
Furniture and design collections
are often underserved within
institutions with regard to
documentation, analysis, and
appropriate storage.Typically,
when an object enters a
collection, insufficient
documentation exists for the
objects' condition and history.
·
It is helpful to recognize that
museum collecting strategies vary;
some museums collect objects
currently in production while
others include prototypes that are
inherently more experimental in
nature and often less stable.
·
Furniture design schools do not
focus on experimental materials
though they encourage their use.
Some schools maintain libraries of
new materials. Others have
memberships in libraries of
modern materials such as Material
Connexion
(www.materialconnexion.com).
·
There is interest on the part of
design students and faculty in
expanding support for practical
materials science of modern
materials.This is an opportunity
for conservators to share their
knowledge and pro-actively
engage groups to strengthen
bonds with allied professional
groups.
·
There is limited conservation
research on issues of improved
cleaning strategies, consolidation,
and compensation for plastics and
rubber. Support for practical
studies should be fostered by
institutions and graduate
programs. Relationships with
industry should be developed and
expanded where possible.
·
There is a need to expand contact
between conservators, industry,
and collectors with the intent of
increasing the understanding of
problems related to production
and use.
As a result of the Milwaukee
meeting the following recommenda-
tions were made:
·
Develop a conference that
establishes an active dialogue
between those who design,
fabricate, market, collect, and
conserve modern furniture with
the intent of improving our
understanding of the factors that
impact object stability and the
long term preservation of modern
materials.
·
Improve strategies for safe display,
transport, and storage.
·
Increase educational support for
furniture designers who use
modern materials.
·
Collect and share information
regarding modern furniture to be
used as a research tool by museum
professionals and scholars.This
could include Web-based archives
generally available to the public,
and networks of shared data such
as INNCA and INCCA NA.
(International Network for the
Conservation of Contemporary
Art - North America).
The Museum of Modern Art in
New York (MoMA) and The Museum
of Fine Arts, Houston have agreed to
collaborate on the creation of a confer-
ence and publication proceedings. It is
our hope that this forum will develop
an active dialogue between those who
design, fabricate, market, collect, and
conserve modern furniture with the
intent of improving the long-term
preservation of these works of art.
MoMA has agreed to host the confer-
ence on May 19-22, 2008, which will
coincide with the International
Contemporary Furniture Fair (ICFF)
held in New York each spring.
Furthermore, a series of workshops
will complement the main program
with presentations about focused mate-
rial analysis and successful conservation
treatments as well as presentations by
leading designers about their work and
the materials they use.These smaller,
more intimate groups will encourage
personal participation with both the
presenters and the materials. Potential
partners in the project include The
Furniture Society,The International
Contemporary Furniture Fair,The
Vitra Design Museum,The San
Francisco Museum of Modern Art, and
Material Connexion, New York.
--Steven Pine, spine@mfah.org
Roger Griffith, roger_griffith@moma.org
CORRECTION:The AIC News
staff apologizes for any confusion that
may have arisen as a result of poor
labeling for the photographs in the
March 2006 AIC News, vol. 31, no. 2.
"Figure x" referred to on page 1 actu-
ally refers to figure 4 which appears on
page 10.
Tokujin Yoshioka, Honey-Pop Armchair,
2000 Paper (Folded, pleated and cut white
paper pressed to a 1 cm thickness that
expands to form a honeycomb-structure
armchair). Collection of Museum of
Modern Art, New York. Gift of the
designer.
Milwaukee Art Museum's Quadracci
Pavilion designed by Santiago Calatrava.
Photograph by Roger Griffith.
11 AIC NEWS, May 2006
Grants and Fellowships
Ian Maclean Research Grant
The National Archives of
Australia has established the Ian
Maclean Research Grant, which is
open to archivists from all countries
who are interested in conducting
research that will benefit the archival
profession and promote the important
contribution that archives make to
society. To encourage innovation in
research, partnerships between
archivists and allied/other profession-
als are eligible. Joint applications from
archivists residing in different coun-
tries are also encouraged. The
stipend, which will be at the discre-
tion of the judging panel, will be to
AU$15,00 (approximately
US$11,000). Additional funding will
be available to overseas applicants for
travel to Australia if necessary.
Prospective applicants should contact
Derina McLaughlin at (+ 61 2) 6212
3986 or derina.mclaughlin@naa.
gov.au before applying to discuss the
scope of their research project.
Further information is available at
www.naa.gov.au.
New Application Policy for
NEH; Grants.gov
The National Endowment for
Humanities (NEH) has established a
new application policy for all institu-
tional applicants. NEH will be accept-
ing all applications through Grants.gov
(the government-wide grants portal)
exclusively. Institutional applicants will
no longer have to send in multiple
paper copies of applications.
Grants.gov enables interactions
between grant applicants and the fed-
eral agencies that manage grant funds.
The Web site also offers institutions
the option of receiving e-mail alerts
about grant opportunities that might
be of interest to them.
The Center for History of
Physics of the American
Institute of Physics
The Center for History of
Physics of the American Institute of
Physics has a grants-in-aid program for
research in the history of modern
physics and allied sciences and their
social interactions. Grants are for up to
$2,500 each.To apply, send a vitae, a
letter of no more than two pages
describing your research project, and a
brief budget showing the project
expenses for which you are requesting
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"Don't know how to fall off a ladder gracefully, without
breaking bones? Then stay off the top steps."
--A reminder from the AIC Health and Safety Committee
12 AIC NEWS, May 2006
Grant and Fellowship Deadlines
Please note that this column will be moved to the AIC
website in order to facilitate easier access to information about
application requirements. If you have comments regarding this
proposed change, please direct them to the editor, Lisa Goldberg
at lgoldberg@ stny.rr.com before July 1, 2006.
American Association of Museums (AAM) at
www.aam-us.org
American Association for State and Local History
(AASLH) and the History Channel, at info@saveourhistory.
com
·
Save Our History Grant Program: October 21, 2005;
2006 deadline not yet announced.
·
Alderson Internship Grant Applications deadline:
December 15
FAIC, at www.aic-faic.org
FAIC Samuel H. Kress Conservation Publication
Fellowships: November 1, 2006
Getty Foundation at www.getty.edu/grants
·
Architectural Conservation Grants, Planning Grants: April
10, 2007
·
Architectural Conservation Grants, Implementation
Grants: April 10, 2007
·
Campus Heritage grants: April 10, 2007
·
Education and Training Grants, Conservation Training
Program Grants: no deadline
·
Education and Training Grants, Professional Development
Grants: no deadline
·
Getty Research Grants for Institutions: no deadline
·
Getty Conservation Guest Scholar Grants: November 1,
2006
·
Museum Conservation Grants, Survey Grants: no
deadline
·
Museum Conservation Grants,Treatment Grants: no
deadline
Heritage Preservation at www.heritagepreservation.org
·
2006 Conservation Assessment Program (CAP)
application deadline: December 1
Institute for Museum and Library Services (IMLS) at
www.imls.gov
·
Conservation Project Support: October 1, 2006
·
Conservation Assessment Program: December 1, 2006
·
2007 deadlines not yet announced
National Endowment for the Arts (NEA), at
www.nea.gov
·
Arts Indemnity Program: Multiple deadlines
National Endowment for the Humanities (NEH) at
www.neh.gov
·
Challenge Grants: May 2, 2006
·
Consultation Grants for Museums, Libraries, or Special
Projects: September 16, 2006
·
Grant to Preserve and Create Access to Humanities
Collections: July 17, 2006
·
Implementation Grants for Humanities Projects in
Libraries and Archives: February 6, 2006
·
Implementation Grants for Museums and Historical
Organizations: February 6, 2006
·
Implementation Grants for Special Projects: February 6,
2006
·
Planning Grants for Museums, Libraries, and Special
Projects: September 11, 2006
·
Preservation and Access Education and Training Grants:
July 3, 2006
·
Preservation and Access Research and Development
Projects Grants: July 3, 2006; Precis due May 16
·
Preservation Assistance Grants for Smaller Institutions:
May 15, 2006
·
Reference Materials Grants: July 17, 2006
·
Stabilization of Humanities Collections Grants: October
3, 2006
·
United States Newspaper Programs: July 3, 2006
The National Center for Preservation Technology and
Training (NCPTT), at www.ncptt.nps.gov
·
PTT Grants Call for Proposals: application available
online in September 2006.
National Gallery of Art Fellowships at, www.nga.gov,
under internships
·
Grant proposals, two deadlines per year: June 1 and
October 1
·
Paired Fellowship for Research in Conservation and the
History of Art 2006-2007 application deadline: March
21, 2006
·
Visiting Senior Fellow Program 2006-2007 application
deadlines:
·
For September 1, 2006 February 28, 2007 award
period: March 21, 2006
·
For March 1 August 31, 2007 award period:
September 21, 2006
Preserve America at www.preserveamerica.gov
·
Preserve America Communities, four application and
designation cycles per year: September 1; December 1;
March 1; June 1
National Historical Publications and Records
Commission (NHPRC) at www.archives.gov/nhprc
·
Two deadlines per year: June 1 and October 1
Save America's Treasures at www.cr.nps.gov/hps/treasures
·
2006 deadline has passed; 2007 deadline not yet
announced
Winterthur Museum and Country Estate, contact: kgri-
er@winterthur.org
·
Research Fellowships Application Deadline: January 16,
2006
13 AIC NEWS, May 2006
support. Applications should be sent to
Spencer Weart, Center for History of
Physics, American Institute of Physics,
One Physics Ellipse, College Park, MD
20740; phone: (301) 209-3174; fax:
(301) 209-0882; e-mail:
sweart@aip.org.
Worth Noting
Lockheed Martin to Build New
Electronic Records Archive for
NARA
The National Archives and
Records Administration (NARA) has
awarded a six-year contract to
Lockheed Martin to build the
Electronic Records Archives (ERA).
The ERA system will capture and
preserve the federal government's
electronic records, regardless of for-
mat; ensure hardware and software
independence; and provide access to
the American public and federal offi-
cials. The ERA's initial operating
capability is targeted for release in FY
2007.
NARA states that Lockheed
Martin was chosen, "based on the
technical merit of the solution it pro-
posed, the excellence of their system
and software engineering methodolo-
gy, and the quality of their project
management."
ERA Program Director Kenneth
Thibodeau has announced the forma-
tion of a high-level committee to
advise U.S. Archivist Allen Weinstein
on issues related to the development,
implementation, and use of the ERA
system.The Advisory Committee on
the Electronic Records Archives
(ACERA) will bring together experts
in computer science and information
technology, archival science and records
management, information science, the
law, history, genealogy, and education.
The committee is governed by the
provisions of the Federal Advisory
Committee Act.
New Preventive Conservation
MA at Northumbria University
The new Preventive Conservation
MA, "Promoting and Sustaining
Excellence," provides an opportunity to
develop an understanding of the wide
range of materials that are used to cre-
ate objects of moveable cultural her-
itage as well as the most appropriate
strategies for storage, display, and trans-
portation.
The program is highly vocational
and provides an ideal basis from which
to enter collections care or preventive
conservation. It can follow a wide
range of undergraduate degrees includ-
ing: art history, archaeology, fine art,
chemistry, physics, engineering, and
computing. For those already involved
in collections care, it offers the oppor-
tunity to underpin their knowledge
and understanding with a formal quali-
fication that can contribute to profes-
sional accreditation.
The integration of best practice
with working practice is reflected in
both the content and structure of the
program, which combines the princi-
ples of preventive conservation within
an extended work experience place-
ment.The program can be completed
full-time, over the course of one year
on campus; full-time over the course
of one year via distance learning; or
part-time over the course of two years
via distance learning.
The mission of Northumbria is to
foster an international community
based on teaching excellence and out-
standing student support in which
learning and academic inquiry are both
enriching and exciting whether on
campus or via distance learning.
Visit http://northumbria.ac.uk/
sd/academic/sass/ahd/cu/ma_pc/ to
learn more or contact:
Jenny Young
+44 191 227 3250 (phone/fax)
jenny.young [at] unn__ac__uk
SCMRE Changes Its Name to
MCI
The Smithsonian Institution is
pleased to announce that the
Smithsonian Center for Materials
Research and Education (SCMRE)
will now be known as the Museum
Conservation Institute (MCI).
The Museum Conservation
Institute was founded in 1963 as the
Conservation Research Laboratory of
the United States National Museum. A
year later it became the Conservation
Analytical Laboratory (CAL), a name it
retained for almost 25 years. It was
renamed SCMRE in 1998 when its
new mandate was to formulate and
conduct training and education pro-
grams in conservation.
The Museum Conservation
Institute (MCI) better reflects our new
mission: to become the center for spe-
cialized technical collections research
and conservation for all Smithsonian
museums and collections.
For further information contact
Robert Koestler, Director, (301) 238-
1240 or koestlerr@si.edu.
GCI Launches New Resources
for the Conservation
Community
The Getty Conservation Institute
(GCI) is pleased to announce new
library resources and services for the
conservation community. Information
can be found on the new Getty Web
pages that are designed to provide
improved access to the many conserva-
tion-related research resources available
to Getty staff, conservation profession-
als, and the public.
The newly designated
Conservation Collection in the
research library at the Getty Research
Institute (GRI) represents an ongoing
collaboration between the GCI and
the GRI to acquire, retain, and provide
access to conservation-related research
resources.The collection comprises
approximately 45,000 volumes,
including more than 750 current serial
subscriptions. Now, for the first time,
the collection can be searched and
browsed online as a discrete collection
within the larger library holdings.
Materials from the collection may be
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