DOCSLIB.ORG

Contract Culture: from the Boar D President, 5

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Contract Culture: from the Boar D President, 5 NOVEMBER 2017 » VOL 42:6 INSIDE Contract Culture: From the Boar d President, 5 AIC News, 10 Inspiring Skills for Success Annual Meeting News, 14 By Kerith Koss Schrager, for CIPP FAIC News, 15 hose of us who work as conservators in private practice reevaluate our COLUMN BY CONSERVATORS IN Emergency Programs, 15 Tprofessional skills and selves with every new client: what are our obliga- tions, what is our time and experience worth, what skills do we provide, and PRIVATE PRACTICE CAP Updates, 16 what are our limitations? With experience, we learn to ask these questions Grants/Scholarships, 17 regularly and to understand that the answers will vary depending on the Courses, 18 projects and changing needs of our business structures. While private conservators must do this regularly to be successful, learning to consider our skills and professional JAIC News, 19 worth in various situations is an essential skill that every conservator needs to master. For conservators in private practice, the external and physical manifestation of this Allied Organizations, 20 internal discourse is the contract. A well-written and negotiated contract sets the tone for professional endeavors and relationships. Defining roles and responsibilities through Health & Safety, 23 contracts is such an important part of conservation practice that the AIC Code of Ethics and Guidelines for Practice addresses the value of contracts, whether in the context of New Publications, 26 working day-to-day with a new client or with your full-time employer (AIC 2001: 4c). It is inevitable that conservators will have to navigate contractual relationships during People, 28 various career stages, particularly as the job market and workforce evolve. Evidence of changes in workforce economies are demonstrated in the Freelancing in America 2017 In Memoriam, 29 report, which states that 36% of American workers are freelance, and that a majority freelance workforce is only a decade away (Upwork Global Inc. 2017). The 2014 AIC/FAIC Grants & Fellowships, 30 compensation survey revealed that among conservators this number is even higher: 30% of conservators are solely in private practice and 48% of museum-employed Conservation Training conservators conduct private work with another 20% considering it (FAIC 2015). Programs, 31 Writing and understanding contracts can be one of the most overwhelming aspects Specialty Group Columns, 33 of private work. With this in mind, CIPP created and provides a contract template for member use (CIPP and Darraby). But beyond legality, what can we learn from contracts Network Columns, 36 other than about the language they contain? What can we learn about ourselves and our relationships with clients, employers, and other conservators? And what skills do we Position Announcements, 38 learn with every new negotiation? The Back Page, 40 Contract Culture continues on page 5 POST-BAC IN CONSERVATION FLORENCE, ITALY Pursue one year of intensive Conservation graduate study in a hands-on, U.S.-accredited Post-Bac program in Florence, Italy. saci-florence.edu Testo_AIC_half_page_JAIC_ad_September_2017.pdf 1 8/28/2017 2:34:03 PM AIC 7.5x5.indd 1 05/10/17 10:46 The first complete monitoring solution C designed for M museums and Y archives. CM MY CY CMY K Environmental monitoring of artwork and artifacts. With the WiFi data logger system testo 160. www.testo.com New book from the American Institute for Conservation Platinum and Palladium Photographs: Technical History, Connoisseurship, and Preservation Coming in December 2017! The Photographic Materials Group of AIC is proud to announce the new volume, Platinum and Palladium Photographs: Technical History, Connoisseurship, and Preservation. This volume is made possible through the generous support of The Irving Penn Foundation, The Andrew W. Mellon Foundation, The Samuel H. Kress Foundation, and the extraordinary efforts of its volunteer authors. Edited by Constance McCabe, the volume presents the results of a four-year inter- institutional, interdisciplinary research initiative led and organized by the National Gallery of Art. Contributions by 47 leading photograph conservators, scientists, and historians provide detailed examinations of the chemical, material, and aesthetic qualities of this important class of rare, beautiful, and technically complex photographs. The volume will help those who care for photograph collections gain a thorough appreciation of the technical and aesthetic characteristics of platinum and palladium prints and scientific basis for their preservation. Price: $75. ISBN: 978-0-9978679-0-9. Trim: 9” x 12”, 456 pp. Platinum and Palladium Photographs: Technical History, Connoisseurship, and Preservation. 2017. ed. C. McCabe. Washington, DC: American Institute for Conservation. Ethics & Critical Thinking in Conservation Look for this book and much more at www.conservation-us.org/shop EDITED BY PAMELA HATCHFIELD A PUBLICATION OF THE AMERICAN INSTITUTE FOR CONSERVATION OF HISTORIC & ARTISTIC WORKS KleenMaster Sinks Specializing in custom design and fabrications. Will last a lifetime! Created with Heavy Duty Polypropylene Plastic will out-live most other materials. Available in White (Natural), and Black for exterior use. All sinks come with a pullout faucet, an all-steel powder-coated frame and adjustable legs. • Tanks, Tubs, Trays • Any size or shape • Custom Designed Sinks! • All seams Hand Machine Welded • Rebirth of vintage maps • Restoring of old artifacts • Optional Innovated Equipment * LED Lighted Work Tables or Surface, LED Overhead Lighting, All Stainless Steel Frames www.KleenMasterSinks.com Hand-made in Wisconsin, USA. KleenMaster Sinks 4812 E. Case Drive, Unit 14 Janesville, WI. 53546 920-382-1807 FROM THE BOARD PRESIDENT AIC News (ISSN 1060-3247) is published y thanks to board members Molly Gleeson and Suzanne bi-monthly by the American Institute for Davis for drawing attention to the announcement that Conservation of Historic & Artistic Works M 727 15th Street, NW, Suite 500 the United States will withdraw from UNESCO at the end of Washington, D.C. 20005 2018. While the decision is regrettable, it will not affect current Phone: 202-452–9545 U.S. World Heritage sites. UNESCO treaties already in effect Fax: 202-452–9328 under domestic U.S. law will not change, including the 1970 [email protected] Convention on the Means of Prohibiting and Preventing the www.conservation-us.org Illicit Import, Export and Transfer of Ownership of Cultural Send address changes to: Property and the 1972 World Heritage Convention, pertaining [email protected] to World Heritage Sites. We hope the U.S. will continue to be Opinions expressed in AIC News are those of guided by UNESCO’s commitment to and principles for cultural the contributors and not official statements heritage preservation, and that it will follow and engage in the of AIC. Responsibility for the materials/ methods described herein rests solely with the organization’s decision-making, even if this means participating as a non-voting member. contributors. Social injustice surrounds us and AIC members are not morally indifferent. Some recent Deadline for January editorial government policies have potential ramifications for AIC as a 501(c)6 membership organiza- submissions: December 1, 2017. Submit to tion, which exists to support us – the conservation professionals who preserve cultural [email protected]. heritage. It is sometimes difficult to differentiate what legislation negatively impacts our We reserve the right to edit for brevity and mission and professional activities from other social or political issues on which we disagree clarity. – sometimes to the extreme. I am proud that AIC members address these latter issues ADVERTISING through a high level of civic involvement and advocacy. AIC accepts position-available ads only from In light of President Trump’s extended travel ban, it seems natural to underscore our equal opportunity employers. All position Statement on Travel Restrictions (http://www.conservation-us.org/docs/default-source/ ads must conform to the standards for equal public-relations/aic-statement-on-travel-restrictions.pdf) as released on February 24, 2017: opportunity employment. Fellowships, Positions Available, and Classified Ads are placed at $100 The American Institute for Conservation of Historic and Artistic Works (AIC) per position. Interships post at no cost. Display recognizes that cultural heritage belongs to all people regardless of their faith, ad pricing: half page $255; full page $395. ethnicity, or nationality. Its care and preservation is a global responsibility and Deadlines for advertising copy/materials are: depends upon ongoing collaboration and scholarly exchange within the interna- February 10, April 10, June 10, August 10, tional conservation community. Only through inclusiveness, can the AIC remain a October 10, and December 10. All ads should be submitted to AIC at advertise@conservation- dynamic and effective professional membership organization. Therefore, the AIC us.org. deplores any action taken, such as President Trump’s recently enacted travel ban, to restrict free entry into the United States of conservation professionals based AIC NEWS STAFF upon their country of citizenship. Lisa Goldberg, Editor As a conservation educator, I would be remiss if I did not comment on the Trump Admin- Eryl P. Wentworth, Managing Editor istration’s decision to repeal the Deferred Action for Childhood Arrivals (DACA) program, Sheila Cummins, Editor, New Publications now
Load more

Recommended publications
  • Kayaks Quyanaasinaq
    FREE ADMISSION November 25 – December 23 Looking for something to do with your friends and family this holiday season? If you’re a current member, you already enjoy free admission to the Alutiiq Museum. Now, thanks to the generous support of KeyBank, everyone gets in for free between November 25 and December 23! Add a little local culture to your holidays with a visit to the Alutiiq Museum, a gift to our community from KeyBank. The Quarterly Newsletter of the Alutiiq Museum Volume 20, Issue 4 | Spring 2016 New Exhibit Features Qayat - Kayaks rom driftwood, animal skins, tendon and baleen, Alutiiq people Ethnology the boat is a rare, complete example of the graceful, light, Fcreated qayat that were expertly designed for Kodiak’s notoriously and flexible Alutiiq qayaq. windy waters. Working with stone and bone tools, and using the Adjacent to the historic vessel is a qayaq frame. Carved by Alfred proportions of the human body as a measuring guide, men built boats Naumoff in 2014, this piece illustrates the internal framework of that permitted swift, secure travel through ocean waters. For the traditional boats. Pieces of a qayaq were never nailed together, but Alutiiq, qayat were a lifeline. They allowed people to harvest fish and carefully lashed to allow the boat to bend in the waves. Naumoff is sea mammals from the ocean, to travel and trade over great distances, one of just a handful of contemporary Alutiiq kayak builders, and his and to carry supplies home. In coastal Alaska, the qayaq remains a knowledge has been informed by studies of historic boats.
    [Show full text]
  • PAINTINGS CONSERVATOR Collections and Information Access Center
    Job CIA.4.14 PAINTINGS CONSERVATOR Collections and Information Access Center REPORTS TO: Senior Conservator SUPERVISES: None The Oakland Museum of California values are fundamental to our institutional culture and guide our work together. Excellence: We are committed to excellence and working at the highest standards of integrity and professionalism. Community: We believe everyone should feel welcome and part of our community, both within the Museum and with our visitors and neighbors. Innovation: We embrace innovation and calculated risk-taking to achieve our mission. Commitment: Our work at the Museum demonstrates a sense of purpose and a shared accountability for the institution’s success. POSITION SUMMARY The Paintings Conservator is responsible for the welfare of the paintings within the collection by monitoring the environment, pest activity, and advocating for proper handling, packing, shipping, storage, and exhibit. Incumbent performs skilled conservation work on collections within their specialization including research, examination, documentation, treatment, and preventative maintenance. ESSENTIAL DUTIES AND RESPONSIBILITIES The following reflects OMCA’s definition of essential functions for this position, but does not restrict the tasks that may be assigned. OMCA may assign or reassign duties and responsibilities to this position at any time due to reasonable accommodation or other reasons. INSTITUTIONAL RESPONSIBILITIES • Support the Museum’s mission, values, vision, and core commitment to the visitor experience, community
    [Show full text]
  • 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
    [Show full text]
  • CONSERVATORS/RESTORERS Updated: 8/2015
    CONSERVATORS/RESTORERS Updated: 8/2015 **THE HOOD MUSEUM OF ART DOES NOT RECOMMEND SPECIFIC CONSERVATORS. THIS LISTING IS MADE FOR PURPOSES OF INFORMATION ONLY.** Online directory of members of AIC (American Institute for Conservation of Historic and Artistic works): www.conservation-us.org/membership/find-a-conservator GENERAL – Also see individual media below Straus Center for conservation and Technical Studies Harvard University Art Museums 32 Quincy Street Cambridge, MA 02138 Paper, Objects, Textiles P: 617/495.2392 F: 617/495.0322 Website: www.harvardartmuseums.org Isabella Stewart Gardner Museum 25 Evans Way Boston, MA 02115 P: 617/566.1401 Paper, Objects, Textiles F: 617/278.5167 Email: [email protected] Website: www.gardnermuseum.org Vermont Museum and Gallery Alliance C/O Fairbanks Museum Referrals. Good source for general 1302 Main Street information on storage, packing, and St. Johnsbury, VT 05819 care of artwork. P: 802/751.8381 Williamstown Art Conservation Center, Inc. 227 South Street Williamstown, MA 02167 Paintings, paper, objects, furniture, P: 413/458.5741 sculpture, frames, analytical F: 413/458.2314 Email: [email protected] Website: www.williamstownart.org Worcester Art Museum 55 Salisbury Street Worcester, MA 01609 Paper, Paintings P: 508/799.4406 Email: [email protected] Website: www.worcesterart.org CONSERVATORS/RESTORERS Updated: 8/2015 General Continued Art Conservation Resource Center 262 Beacon Street, #4 Paintings, paper, photographs, textiles, Boston, MA 02116 objects and sculpture P:
    [Show full text]
  • 2009 Final Program
    AMERICAN INSTITUTE FOR CONSERVATION OF HISTORIC AND ARTISTIC WORKS 37TH ANNUAL MEETING MAY 19-22, 2009 HYATT REGENCY CENTURY PLAZA LOS ANGELES, CA conservation 2.0 new directions FINAL PROGRAM BOARD OF DIRECTORS WELCOME FROM THE PRESIDENT Martin Burke President Meg Loew Craft Vice President Lisa Bruno Secretary Welcome to Los Angeles and AIC’s 37th Annual Brian Howard Treasurer Catharine Hawks Director, Committees & Task Forces Meeting! Since AIC’s first Annual Meeting in 1972, Paul Messier Director, Communications the meeting has grown to include workshops, Karen Pavelka Director, Professional Education Ralph Wiegandt Director, Specialty Groups tours, posters, lectures, and discussions. Many members and non-members attend each year to ANNUAL MEETING COMMITTEES take advantage of this exceptional opportunity to Meg Loew Craft Program Committee Jennifer Wade exchange ideas and information, learn about new Rebecca Rushfield products and services from our industry suppliers, and explore our Margaret A. Little Paul Himmelstein host city. Make sure to take advantage of the many opportunities Gordon Lewis that come from having so many of your peers in one place, at one Valinda Carroll Poster Session Committee Rachel Penniman time. Angela M. Elliot Jerry Podany Local Arrangements Committee This year’s meeting theme, Conservation 2.0—New Directions, Holly Moore emphasizes ways in which emerging technologies are affecting Jo Hill Ellen Pearlstein the field of conservation. The general session and specialty group Janice Schopfer Laura Stalker program committees have put together a variety of presentations Anna Zagorski that explore this theme. Papers will outline and showcase recent SPECIALTY GROUP OFFICERS advances in all specialties and address scientific analysis, treatment Architecture methods, material improvements, and documentation.
    [Show full text]
  • The Meaning of Materials in Modern and Contemporary
    2012 AICCM Paintings Group + 20th Century in Paint Symposium The Meaning of Materials in Modern and Contemporary Art 2012 AICCM Paintings Group + 20th Century in Paint Symposium The Meaning of Materials in Modern and Contemporary Art Cinema B, Gallery of Modern Art, Brisbane 10-11 December 2012 1 2 3 Contents Supporters Supporters / 5 Jointly organised by ‘The Twentieth Century in Paint’ Australian Research Council (ARC) Linkage Project headed by The Centre for Cultural Materials Conservation at the University Welcome Message / 6 of Melbourne, the Queensland Art Gallery | Gallery of Modern Art Centre for Contemporary Art Conservation and the Australian Institute for the Conservation of Cultural Materials General Information / 9 (AICCM) Paintings Special Interest Group. Program / 10 The organizing committee would like to acknowledge the support of the Ian Potter Foundation. Tru Vue, the manufacturer of high-performance glazing for framing and Symposium Abstracts / 15 display applications is also pleased to support this symposium. For more information on Tru Vue glazing products, contact Jared Davis, Megawood Larson Juhl at JDavis@ Author Profiles / 32 megawoodlarsonjuhl.com.au or visit www:tru-vue.com/museums. Acknowledgments / 42 Location Map / 44 4 5 This is particularly interesting in painting media through revolutionary art contemporary museum practice. The practices in the 20th century in Australia Welcome processes by which artists transfer and parts of Southeast Asia. The project knowledge to institutions and collectors for concludes
    [Show full text]
  • Symposium Programme
    IIC-Palace Museum 2017 Hong Kong Symposium 24-26 November 2017 | Chiang Chen Studio Theatre, Hong Kong Polytechnic University Theme: Unroll and Unfold: Preserving Textiles and Thangkas to Last Provisional Programme Friday 24 November 2017 9.00 – 9.30 Registration 9.30 – 10.00 Opening and welcome remarks Session I - Conservation and Historical Studies on Thangkas Moderator: Dinah Eastop Honorary Senior Lecturer, UCL Institute of Archaeology, UK 10.00 – 12.15 Jirong Song Deputy Director, Palace Museum, China ‘Conservation of thangkas hanging at the Xianlou Buddhist Hall of Xinuan Chamber at Yangxin Hall, Forbidden City – A case study on the conservation of the ‘Kurukullā’ thangka’ Teresa Heady Senior Objects Conservator, St Paul’s Cathedral, UK ‘The conservation of thangka paintings: In search of simplicity and reversibility’ Refreshments Ann Shaftel Director and Lead Instructor, Treasure Caretaker Training, Canada ‘Thangkas within monasteries, utilisation and conservation’ Question and answer session 12.15 – 14.00 Lunch Session II - Textiles Along the Silk Road Moderator: Xiaoji Fang Associate Research Fellow, Conservation Department, Palace Museum, China 14.00 – 17.30 Feng Zhao Director, China National Silk Museum, China ‘New insight into the ancient road: Revealing the exchanges between the East and the West from textiles excavated along the Silk Road’ Franca Cole Lecturer, UCL Qatar, Qatar ‘Textiles from the East: The Silk Road and the desert beyond’ Refreshments Monique Pullan Senior Conservator, British Museum, UK ‘Conserving textiles
    [Show full text]
  • Conservation of Cultural and Scientific Objects
    CHAPTER NINE 335 CONSERVATION OF CULTURAL AND SCIENTIFIC OBJECTS In creating the National Park Service in 1916, Congress directed it "to conserve the scenery and the natural and historic objects and the wild life" in the parks.1 The Service therefore had to address immediately the preservation of objects placed under its care. This chapter traces how it responded to this charge during its first 66 years. Those years encompassed two developmental phases of conservation practice, one largely empirical and the other increasingly scientific. Because these tended to parallel in constraints and opportunities what other agencies found possible in object preservation, a preliminary review of the conservation field may clarify Service accomplishments. Material objects have inescapably finite existence. All of them deteriorate by the action of pervasive external and internal agents of destruction. Those we wish to keep intact for future generations therefore require special care. They must receive timely and. proper protective, preventive, and often restorative attention. Such chosen objects tend to become museum specimens to ensure them enhanced protection. Curators, who have traditionally studied and cared for museum collections, have provided the front line for their defense. In 1916 they had three principal sources of information and assistance on ways to preserve objects. From observation, instruction manuals, and formularies, they could borrow the practices that artists and craftsmen had developed through generations of trial and error. They might adopt industrial solutions, which often rested on applied research that sought only a reasonable durability. And they could turn to private restorers who specialized in remedying common ills of damaged antiques or works of art.
    [Show full text]
  • The Art of Resilience Acknowledgments
    The Art of 2019 Catalog Disclaimer All images of the artworks in this publication are the property of the respective artists. On the cover (clockwise from top left) Yky, Shakes p. 12 Justin Wood, March Towards Extinction p. 6 Pitsho Mafolo, Redefining Life p. 2 Adrien Segal, Trends in Water Use p. 19 The Art of The World Bank Group, Washington, DC, October 29, 2019–January 19, 2020 The ArtScience Museum and Singapore Expo Center, Singapore, May 16, 2020–May 24, 2020 artofresilience.art Table of Contents Acknowledgments p. iii Foreword p. iv Introduction p. vi Overview p. vi Why Art? p. vi The Process p. vii The Artwork p. viii Our Hope p. x Art as a Call to Action p. 1 Art-Science Collaboration as a Resource for Innovation p. 17 Engaging Communities Through Public and Participatory Arts p. 25 Guidance for Practitioners p. 33 ii :: The Art of Resilience Acknowledgments Contributors JD Talasek, Director of Cultural Programs, The Art of Resilience was conceived by the National Academy of Sciences Global Facility for Disaster Reduction and Emma Phillips Solomon, Sr. Disaster Risk Recovery (GFDRR) Labs team and the World Management Specialist, GFDRR Labs Bank Group Art Program. The exhibition Robert Soden, Sr. Disaster Risk Management features artists selected through a competitive Consultant, GFDRR Labs process. Participation was open to any emerging or established artist using his, her, Research and Catalogue Entries or their art to help build society’s resilience to Juliana Biondo, Assistant Curator and Project natural hazards. Artworks of any medium were Manager, World Bank Group Art Program accepted, and artists included any person Editorial Coordination engaged in creative endeavors.
    [Show full text]
  • Collections Care Paper, Photographs, Textiles & Books
    guide to Collections Care Paper, Photographs, Textiles & Books PLUS, check out our Resource Section for more information on preservation and conservation. see pages 56-60. call: 1-800-448-6160 fax: 1-800-272-3412 web: Gaylord.com GayYlouro Trustedrd Source™ A CONTINUUM OF CARE Gaylord’s commitment to libraries and the care of their collec- tions dates back more than eighty years. In 1924, the company published Bookcraft, its first training manual for the repair of books in school and public libraries. Updated regularly, the publication has provided librarians with simple cost-effective techniques for the care of their collections. When the field of preservation expanded during the 1980s, Gaylord responded with a line of archival products. In 1992, it issued its first Archival Supplies Catalog, followed by its innova- tive series of Pathfinders. Written by conservators, these illustrated guides earned a reputation for reliable information on the care and storage of paper, photographs, textiles, and books. This Guide to Collections Care continues Gaylord’s commitment to providing its users with the reliable information they need to preserve their treasures. Conservators have updated the information from our original Pathfinders and combined all five booklets into this one easy guide. We have also added product references as a convenient resource tool. ©2010, Gaylord Bros., Inc. All rights reserved. Printed in USA Gaylord Bros. PO Box 4901 Syracuse, NY 13221-4901 Gaylord Bros. gratefully acknowledges the authors of this pamphlet: Nancy Carlson
    [Show full text]
  • Therembrandtdatabase Newsletter #4, May 2016 Research Resource on Rembrandt Paintings
    TheRembrandtDatabase Newsletter #4, May 2016 research resource on Rembrandt paintings Gemäldegalerie Berlin research project • Rijksmuseum X-ray films online • A Corpus of Rembrandt Paintings • Zeph Benders and the History Painting from the Lakenhal • Sample documentation RCE • The Rembrandt Database presents: project associate Marijke Heslenfeld Now online: 11,083 files, 205 Rijksmuseum X-ray films paintings, 25 collections online And more content is in preparation; please A selection of X-radiographs from keep an eye out for updates on our website! the Rijksmuseum has been added to the database, among which X-ray film, 18-06-1956, Rembrandt, Bust of a woman smiling, X-rays of paintings from The possibly Saskia van Uylenburgh, dated 1633, Gemäldegalerie Alte Meister Dresden Metropolitan Museum of Art in New York and the Gemäldegalerie Alte Meister in Research project Gemäldegalerie Berlin (almost) completed Dresden. th On April 18 another five Rembrandt paintings from the Gemäldegalerie were The Rijksmuseum keeps a large presented in The Rembrandt Database. By the end of June our colleagues in Berlin – collection of X-rays of not only Claudia Laurenze-Landsberg and Katja Kleinert – will complete the art-historical and paintings from their own technical research of the Rembrandt paintings. The collaboration with the collection, but also of paintings Gemäldegalerie has been unique regarding the intense research they have performed from other institutions. A and all the results they have gathered. By combining technical and art-historical substantial part of these X-rays research within an interdisciplinary team the project has achieved innovative and most were produced during the interesting results. landmark Rembrandt exhibition, which was held at the The extensive art-historical information and the visual and textual data that has Rijksmuseum and the Museum emerged from technical analyses of all 26 Rembrandt paintings in the collection of the Boijmans van Beuningen in 1956.
    [Show full text]
  • Storage System for Archaeological Textile Fragments
    Article: Storage system for archaeological textile fragments Author(s): Lisa Anderson, Dominique Cocuzza, Susan Heald, and Melinda McPeek Source: Objects Specialty Group Postprints, Volume Eight, 2001 Pages: 181-189 Compilers: Virginia Greene and Lisa Bruno th © by The American Institute for Conservation of Historic & Artistic Works, 1156 15 Street NW, Suite 320, Washington, DC 20005. (202) 452-9545 www.conservation-us.org Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the American Institute for Conservation. Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation of Historic & Artistic Works (AIC). A membership benefit of the Objects Specialty Group, Objects Specialty Group Postprints is mainly comprised of papers presented at OSG sessions at AIC Annual Meetings and is intended to inform and educate conservation-related disciplines. Papers presented in Objects Specialty Group Postprints, Volume Eight, 2001 have been edited for clarity and content but have not undergone a formal process of peer review. This publication is primarily intended for the members of the Objects Specialty Group of the American Institute for Conservation of Historic & Artistic Works. Responsibility for the methods and materials described herein rests solely with the authors, whose articles should not be considered official statements of the OSG or the AIC. The OSG is an approved division of the AIC but does not necessarily represent the AIC policy or opinions. STORAGE SYSTEM FOR ARCHEOLOGICAL TEXTILE FRAGMENTS Lisa Anderson, Dominique Cocuzza, Susan Heald and Melinda McPeek Introduction The holdings of the National Museum of the American Indian consist of approximately 805,000 archaeological and ethnographic objects from Native peoples of the Western hemisphere.
    [Show full text]