Contemporary Analog and Digital Color Photographic Prints: Processes, Practice, and Accelerated Test Methods for Evaluating Print Permanence Date and Time
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
January 28, 2021 Introductions Faculty
Art Conservation Open House January 28, 2021 Introductions Faculty Debra Hess Norris Dr. Jocelyn Alcántara-García Brian Baade Maddie Hagerman Dr. Joyce Hill Stoner Nina Owczarek Photograph Conservator Conservation Scientist Paintings Conservator Objects Conservator Paintings Conservator Objects Conservator Chair and Professor of Photograph Associate Professor Assistant Professor Instructor Edward F. and Elizabeth Goodman Rosenberg Assistant Professor Conservation Professor of Material Culture Unidel Henry Francis du Pont Chair Students Director, Preservation Studies Doctoral Program Annabelle Camp Kelsey Marino Katie Rovito Miriam-Helene Rudd Art conservation major, Class of 2019 Art conservation major, Class of 2020 WUDPAC Class of 2022 Senior art conservation major, WUDPAC Class of 2022 Preprogram conservator Paintings major Class of 2021 Textile major, organic objects minor President of the Art Conservation Club What is art conservation? • Art conservation is the field dedicated to preserving cultural property • Preventive and interventive • Conservation is an interdisciplinary field that relies heavily on chemistry, art history, history, anthropology, ethics, and art Laura Sankary cleans a porcelain plate during an internship at UD Art Conservation at the University of Delaware • Three programs • Undergraduate degree (BA or BS) • Winterthur/University of Delaware Program in Art Conservation or WUDPAC (MS) at Winterthur Museum, Garden & Library near Wilmington, DE • Doctorate in Preservation Studies (PhD) Miriam-Helene Rudd cleans a -
Guidelines for the Field Collection of Archaeological Materials and Standard Operating Procedures for Curating Department of Defense Archaeological Collections
Guidelines for the Field Collection of Archaeological Materials and Standard Operating Procedures for Curating Department of Defense Archaeological Collections Prepared for the Legacy Resource Management Program Office Legacy Project No. 98-1714 Mandatory Center of Expertise for the Curation and Management of Archaeological Collections Form Approved REPORT DOCUMENTATION PAGE OMB No. 0704-0188 Public reporting burden for this collection of information is estimated to average 1 hour per response, including the time for reviewing instructions, searching existing data sources, gathering and maintaining the data needed, and completing and reviewing the collection of information. Send comments regarding this burden estimate or any other aspect of this collection of information, including suggestions for reducing this burden, to Washington Headquarters Services, Directorate for Information Operations and Reports, 1215 Jefferson Davis Highway, Suite 1204, Arlington, VA 22202-4302, and to the Office of Management and Budget, Paperwork Reduction Project (0704-0188), Washington, DC 20503. 1. AGENCY USE ONLY (Leave blank) 2. REPORT DATE 1999 3. REPORT TYPE AND DATES COVERED 4. TITLE AND SUBTITLE 5. FUNDING NUMBERS Guidelines for the Field Collection of Archaeological Materials and Standard Operating Procedures for Curation Department of Defense Archaeological Collections 6. AUTHORS Suzanne Griset and Marc Kodack 7. PERFORMING ORGANIZATION NAME(S) AND ADDRESS(ES) PERFORMING ORGANIZATION REPORT NUMBER U.S. Army Corps of Engineers, St. Louis District 1222 Spruce Street (CEMVS-ED-Z) St. Louis, Missouri 63103-2833 9. SPONSORING/MONITORING AGENCY NAME(S) AND ADDRESS(ES) 10. SPONSORING/MONITORING AGENCY Legacy Resource Management Program Office REPORT NUMBER Office of Deputy Under Secretary of Defense (Environmental Security) Legacy Project No. -
Winning the Denise Lyall Prize with William Nicholson
THE MAGAZINE OF THE INSTITUTE OF CONSERVATION • DECEMBER 2018 • ISSUE 79 Winning the Denise Lyall Prize with William Nicholson Also in this issue A magnetic solution • A Tate placement • Digitisation step by step • The year in policy By Appointment to Her Majesty Queen Elizabeth II Suppliers of Conservation Storage, Equipment and Display Products Conservation By Design Limited Bedford DID YOU KNOW? Since 1992, museums, libraries and archives worldwide have turned to CXD for our comprehensive range of high quality conservation storage and display products. We invite you to take a look at www.cxdglobal.com to discover more about CXD. Did you know many of our products are manufactured in-house? Please contact us if you need further information or wish to order samples. Conservation By Design Limited, Timecare Works, 2 Wolseley Road, Bedford, MK42 7AD, United Kingdom T +44 (0) 1234 846300 E [email protected] www.cxdglobal.com cxdconservationbydesign 2 inside DECEMBER 2018 Issue 79 2 NEWS From the Editor From the Chair of the Board; ‘We are not NASA here - trying to get a man Group updates, conference back from the moon!' Thus spoke our news, policy update departing Chief Executive to me on one 11 occasion when I was panicking about a PEOPLE deadline. It is a mantra that I have clung on to 15 on several occasions since. Calming and 12 sensible, those words seem to me to encapsulate Alison A CHANGE OF PLAN Richmond’s wisdom and kindness to me and everyone A parchment charter is connected with Icon. Our Chair of the Board of Trustees has re-housed using magnets more to say about her achievements over nearly a decade. -
Visualdsp++ 5.0 Getting Started Guide Iii CONTENTS
W5.0 Getting Started Guide Revision 3.0, August 2007 Part Number 82-000420-01 Analog Devices, Inc. One Technology Way Norwood, Mass. 02062-9106 a Copyright Information ©2007 Analog Devices, Inc., ALL RIGHTS RESERVED. This document may not be reproduced in any form without prior, express written consent from Analog Devices, Inc. Printed in the USA. Disclaimer Analog Devices, Inc. reserves the right to change this product without prior notice. Information furnished by Analog Devices is believed to be accurate and reliable. However, no responsibility is assumed by Analog Devices for its use; nor for any infringement of patents or other rights of third parties which may result from its use. No license is granted by impli- cation or otherwise under the patent rights of Analog Devices, Inc. Trademark and Service Mark Notice The Analog Devices icon bar and logo, the CROSSCORE logo, VisualDSP++, Blackfin, SHARC, TigerSHARC, and EZ-KIT Lite are registered trademarks of Analog Devices, Inc. All other brand and product names are trademarks or service marks of their respective owners. CONTENTS PREFACE Purpose of This Manual ................................................................. vii Intended Audience ......................................................................... vii Manual Contents .......................................................................... viii What’s New in This Manual .......................................................... viii Technical or Customer Support ...................................................... -
The State of Recorded Sound Preservation in the United States: a National Legacy at Risk in the Digital Age
The State of Recorded Sound Preservation in the United States: A National Legacy at Risk in the Digital Age August 2010 Commissioned for and sponsored by the CounCil on library and information resourCes and the library of Congress The State of Recorded Sound Preservation in the United States: A National Legacy at Risk in the Digital Age August 2010 from last round: National Recording Preservation Board OF THE LIBRARY OF CONGRESS revised: Commissioned for and sponsored by the National Recording Preservation Board OF THE LIBRARY OF CONGRESS Council on Library and Information Resources and The Library of Congress Washington, D.C. National Recording Registry OF THE LIBRARY OF CONGRESS The National Recording Preservation Board The National Recording Preservation Board was established at the Library of Congress by the National Recording Preservation Act of 2000. Among the provisions of the law are a directive to the Board to study and report on the state of sound recording preservation in the United States. More information about the National Recording Preservation Board can be found at http://www.loc.gov/rr/record/nrpb/. ISBN 978-1-932326-36-9 CLIR Publication No. 148 Copublished by: Council on Library and Information Resources 1752 N Street NW, Suite 800 Washington, DC 20036 Web site at http://www.clir.org and The Library of Congress 101 Independence Avenue, SE Washington, DC 20540 Web site at http://www.loc.gov Additional copies are available for $30 each. Orders must be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/abstract/pub148abst.html. -
Elena Simonova-Bulat Topics in Photographic Preservation, Volume 11
Article: Photograph Preservation in Russia Author(s): Elena Simonova-Bulat Topics in Photographic Preservation, Volume 11. Pages: 131-140 Compiler: Brenda Bernier © 2005, Photographic Materials Group of the American Institute for Conservation of Historic & Artistic Works. 1156 15th St. NW, Suite 320, Washington, DC 20005. (202) 452-9545, www.aic-faic.org. Under a licensing agreement, individual authors retain copyright to their work and extend publication rights to the American Institute for Conservation. Topics in Photographic Preservation is published biannually by the Photographic Materials Group (PMG) of the American Institute for Conservation of Historic & Artistic Works (AIC). A membership benefit of the Photographic Materials Group, Topics in Photographic Preservation is primarily comprised of papers presented at PMG meetings and is intended to inform and educate conservation-related disciplines. Papers presented in Topics in Photographic Preservation, Vol. 11, have not undergone a formal process of peer review. Responsibility for the methods and materials described herein rests solely with the authors, whose articles should not be considered official statements of the PMG or the AIC. The PMG is an approved division of the AIC but does not necessarily represent the AIC policy or opinions. PHOTOGRAPH PRESERVATION IN RUSSIA ELENA SIMONOVA-BULAT BACKGROUND INFORMATION Russia’s Photographic Heritage The Russian nation possesses an immensely rich photographic heritage little known by those outside the country. The city of Saint Petersburg, in particular, is the center of this photographic legacy. Long the cultural capital of Russia, the city holds the greatest concentration of historic collections particularly from the 19th century. Also, it was the location of three revolutions, which led to the transformation of the society in the 20th century, which is largely documented in the photographic archives of the city. -
Practical Visualaudio
Federal Department of Home Affairs FDHA Swiss Federal Office of Culture FOC Swiss National Library NL Practical VisualAudio A long journey to tangible results. Practical aspects, challenges, ups and downs, room for improvements. JTS 2016, Singapore, 7-9 March 2016 Federal Department of Home Affairs FDHA Swiss Federal Office of Culture FOC Swiss National Library NL • Microscopic observation of the surface of a disc: • The shape of the groove visually represents the acoustic vibrations, which closely correspond to the electric signal, of the recorded sound. • There's plenty of information available, but it requires a very high resolution photography or scanning. Practical VisualAudio | A long journey to tangible results 2 Stefano S. Cavaglieri Federal Department of Home Affairs FDHA Swiss Federal Office of Culture FOC Swiss National Library NL • A schematic overview of the VisualAudio concept: • The disc is photographed (high resolution copy) • The film is scanned (image digitization) • The raw image is processed (groove reconstruction) • The final image is transduced to sound (sound extraction) Practical VisualAudio | A long journey to tangible results 3 Stefano S. Cavaglieri Federal Department of Home Affairs FDHA Swiss Federal Office of Culture FOC Swiss National Library NL • Why the analog photographic step? • The photo is an accurate, high-res copy. • It is a quick and reliable way to freeze the degradation of the surface of a disc. • A certain depth of field is granted by well known photographic principles. • Film is a small, cheap, stable medium. Practical VisualAudio | A long journey to tangible results 4 Stefano S. Cavaglieri Federal Department of Home Affairs FDHA Swiss Federal Office of Culture FOC Swiss National Library NL • Some additional benefits of analog photography: • The picture is shot without interfering with the surface of the disc. -
Optical Playback of Damaged and Delaminated Analogue Audio Disc Records Jean-Hugues Chenot, Louis Laborelli, Jean-Étienne Noiré
Saphir: Optical Playback of Damaged and Delaminated Analogue Audio Disc Records Jean-Hugues Chenot, Louis Laborelli, Jean-Étienne Noiré To cite this version: Jean-Hugues Chenot, Louis Laborelli, Jean-Étienne Noiré. Saphir: Optical Playback of Damaged and Delaminated Analogue Audio Disc Records. Journal on Computing and Cultural Heritage, Association for Computing Machinery, 2018, 11 (3), pp.14.1-29. 10.1145/3183505. hal-01885324 HAL Id: hal-01885324 https://hal.archives-ouvertes.fr/hal-01885324 Submitted on 1 Oct 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Saphir: Optical Playback of Damaged and Delaminated Analogue Audio Disc Records JEAN-HUGUES CHENOT, LOUIS LABORELLI, JEAN-ÉTIENNE NOIRÉ, Institut National de l’Audiovisuel, France 14 The goal of optical playback of analogue audio discs records has been pursued since at least 1929. Several different approaches have been demonstrated to work. But in most cases the playback quality is worse than using mechanical playback. The Saphir process uses a specifically designed colour illuminator that exploits the reflective properties of the disc material to highlight subtle changes in orientation of the groove walls, even at highest frequencies (20kHz). -
JIUAN JIUAN CHEN Art Conservation Department, SUNY Buffalo State Email: [email protected] 1300 Elmwood Avenue, Buffalo, NY 14222, USA Tel: 716-878-5034
JIUAN JIUAN CHEN Art Conservation Department, SUNY Buffalo State email: [email protected] 1300 Elmwood Avenue, Buffalo, NY 14222, USA tel: 716-878-5034 ACADEMIC DEGREES AND CERTIFICATION M.A. and C.A.S, SUNY Buffalo State, September 2001, in Art Conservation M.A., University of Massachusetts at Amherst, Amherst, February 1995, in Art History B.A., National Taiwan Normal University, May 1991, in English Junior College Diploma, National Pingtung Teachers College, Taiwan, May 1986, in Education and Arts PROFESSIONAL EXPERIENCE Assistant Professor, Conservation Imaging, Technical Examination and Documentation, SUNY Buffalo State, Art Conservation Department, July 2012 - present Senior Conservator, Paul Messier LLC, Boston, MA, Sept. 2007 - July 2012 Guest lecturer in Technical Examination and Documentation, SUNY Buffalo State, Art Conservation Department, Spring Semester 2010 Conservator and Assistant Director for Conservation Education, the Advanced Residency Program in Photograph Conservation, George Eastman House, Rochester, NY, Sept. 2003 - Aug. 2007 Andrew W. Mellon Fellow, the Advanced Residency Program in Photograph Conservation, George Eastman House, Rochester, NY, Sept. 2001 - Aug. 2003 Senior Preservation Technician, Northeast Document Conservation Center/F. L. Olmsted National Historic Site, Springfield, MA, Jan. 1997 - July 1998 Preservation Technician, Northeast Document Conservation Center/F. L. Olmsted National Historic Site, Springfield, MA, Jan. - Dec. 1996 Elementary School Teacher, Yong Ping Elementary School, -
A Closer Look: Conservation of Paintings Ebook
A CLOSER LOOK: CONSERVATION OF PAINTINGS PDF, EPUB, EBOOK David Bomford,Jill Dunkerton,Martin Wyld | 96 pages | 25 Aug 2009 | National Gallery Company Ltd | 9781857094411 | English | London, United Kingdom A Closer Look: Conservation of Paintings PDF Book Surface cleaning on encaustic paintings can typically be done with distilled water and swabs is sufficient. Christina rated it it was amazing Aug 27, Analysis of modern paints. Help Learn to edit Community portal Recent changes Upload file. These pollutants can be physical, chemical, or biological. The National Gallery. Christine rated it really liked it Sep 01, The number of layers may vary, and each can be left in its natural transparent state, or colored with pigments to create Lacquer painting. Graciela S. Washington D. Scroll paintings often are multiple layers of paper and silk attached to wooden bars called a stave and dowel. Collector's Guide. Due to its thin washes and light colors, watercolor paintings are very light sensitive. There are no discussion topics on this book yet. Damage can be mitigated with proper relative humidity levels and storing of textiles in acid-free tissue or clean cotton sheets. Cradling was previously used to correct warping by thinning the original structural support and then adhering the cradle to the reverse side of the support. Korrena added it Mar 27, Also, due to their exposed support they are vulnerable to damage from dirt, dust, and pollutants. The intensity of fluorescent paints can decline quite rapidly, making it difficult for conservators to care for. Avoiding exposure to unfiltered daylight and fluorescent lamps can help to prevent this type of damamge. -
Annual Report 2005
NATIONAL GALLERY BOARD OF TRUSTEES (as of 30 September 2005) Victoria P. Sant John C. Fontaine Chairman Chair Earl A. Powell III Frederick W. Beinecke Robert F. Erburu Heidi L. Berry John C. Fontaine W. Russell G. Byers, Jr. Sharon P. Rockefeller Melvin S. Cohen John Wilmerding Edwin L. Cox Robert W. Duemling James T. Dyke Victoria P. Sant Barney A. Ebsworth Chairman Mark D. Ein John W. Snow Gregory W. Fazakerley Secretary of the Treasury Doris Fisher Robert F. Erburu Victoria P. Sant Robert F. Erburu Aaron I. Fleischman Chairman President John C. Fontaine Juliet C. Folger Sharon P. Rockefeller John Freidenrich John Wilmerding Marina K. French Morton Funger Lenore Greenberg Robert F. Erburu Rose Ellen Meyerhoff Greene Chairman Richard C. Hedreen John W. Snow Eric H. Holder, Jr. Secretary of the Treasury Victoria P. Sant Robert J. Hurst Alberto Ibarguen John C. Fontaine Betsy K. Karel Sharon P. Rockefeller Linda H. Kaufman John Wilmerding James V. Kimsey Mark J. Kington Robert L. Kirk Ruth Carter Stevenson Leonard A. Lauder Alexander M. Laughlin Alexander M. Laughlin Robert H. Smith LaSalle D. Leffall Julian Ganz, Jr. Joyce Menschel David O. Maxwell Harvey S. Shipley Miller Diane A. Nixon John Wilmerding John G. Roberts, Jr. John G. Pappajohn Chief Justice of the Victoria P. Sant United States President Sally Engelhard Pingree Earl A. Powell III Diana Prince Director Mitchell P. Rales Alan Shestack Catherine B. Reynolds Deputy Director David M. Rubenstein Elizabeth Cropper RogerW. Sant Dean, Center for Advanced Study in the Visual Arts B. Francis Saul II Darrell R. Willson Thomas A. -
Text of Interview with Paul Messier
Smithsonian Institution Time-Based and Digital Art Working Group: Interview Project Interview with Paul Messier Paul Messier is an independent conservator of photographs. In 1998 he founded the Electronic Media Group of the American Institute for Conservation (AIC). He was elected to the AIC board for two terms, serving from 2004-2010. While on the board his major initiatives included the publication of the AIC Guide to Digital Photography and Conservation Documentation (2008), the transfer of ConservationOnline and the ConservationDislist from Stanford University (2009), and the establishment of the Conservation Catalog Wiki (2009). April 3, 2013 Interviewers: Crystal Sanchez and James Smith Please tell us about your experience with time-based media art conservation. It was around 1997-2000 when I realized that electronic media conservation issues needed a place at the American Institute of Conservation (AIC). At the time, I did a lot of work that contributed to making sure that those issues were brought into the mainstream of the conservation profession. Could you talk about what prompted your interest in that area and what the nature of your work was at that time? I remember going to a meeting with members of the Photographic Materials Group, which is an AIC sub-group that is focused on conservation issues with photographs. At that time, in the mid-late 90s, talks about digital photography were beginning—whether it was digital still photography, moving images, or digital output, like inkjet prints and things like that. There was much discussion among the Group as to whether—or maybe it was just me being sensitive to it, I don’t know how big of an issue it really was—these types [of works] really belonged in the Photographic Materials Group.