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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 -
Digital Preservation Workflows for Museum Imaging Environments
The 11th International Symposium on Virtual Reality, Archaeology and Cultural Heritage VAST (2010) A. Artusi, M. Joly, D. Pitzalis, G. Lucet, and A. Ribes (Editors) Digital preservation workflows for museum imaging environments Michael Ashley1 1 Cultural Heritage Imaging, San Francisco, California, USA From: Principles and Practices of Robust, Photography-based Digital Imaging Techniques for Museums. Contributors: Mark Mudge, Carla Schroer, Graeme Earl, Kirk Martinez, Hembo Pagi, Corey Toler-Franklin, Szymon Rusinkiewicz, Gianpaolo Palma, Melvin Wachowiak, Michael Ashley, Neffra Matthews, Tommy Noble, Matteo Dellepiane. Edited by Mark Mudge and Carla Schroer, Cultural Heritage Imaging. The 11th International Symposium on Virtual Reality, Archaeology and Cultural Heritage VAST (2010) A. Artusi, M. Joly, D. Pitzalis, G. Lucet, and A. Ribes (Editors) This is a pre-print copy of a paper that is currently under review. Please respect the intellectual property of the authors and the efforts of the publishers and reviewers until its publication. If you find any errors that need modification please contact the author at [email protected]. Meanwhile this pdf is distributed to interested readers under a Creative Commons 3.0 license. M. Ashley / Digital Preservation Workflows For Museum Imaging Environments Digital preservation workflows for museum imaging environments Michael Ashley1 1 Cultural Heritage Imaging, San Francisco, California, USA Abstract We discuss and demonstrate practical digital preservation frameworks that protect images throughout the entire production life-cycle. Using off the shelf and open source software coupled with a basic understanding of metadata, it is possible to produce and manage high value digital representations of physical objects that are born archive- ready and long-term sustainable. -
Introducticn Tc Ccnservoticn
introducticntc ccnservoticn UNITED NATTONSEDUCATIONA],, SCIEIilIIFTC AND CULTIJRALOROANIZATTOII AN INIRODUCTION TO CONSERYATIOI{ OF CULTURAT PROPMTY by Berr:ar"d M. Feilden Director of the Internatlonal Centre for the Preservatlon and Restoratlon of Cultural Property, Rome Aprll, L979 (cc-ig/ws/ttt+) - CONTENTS Page Preface 2 Acknowledgements Introduction 3 Chapter* I Introductory Concepts 6 Chapter II Cultural Property - Agents of Deterioration and Loss . 11 Chapter III The Principles of Conservation 21 Chapter IV The Conservation of Movable Property - Museums and Conservation . 29 Chapter V The Conservation of Historic Buildings and Urban Conservation 36 Conclusions ............... kk Appendix 1 Component Materials of Cultural Property . kj Appendix 2 Access of Water 53 Appendix 3 Intergovernmental and Non-Governmental International Agencies for Conservation 55 Appendix k The Conservator/Restorer: A Definition of the Profession .................. 6? Glossary 71 Selected Bibliography , 71*. AUTHOR'S PREFACE Some may say that the attempt to Introduce the whole subject of Conservation of Cultural Propety Is too ambitious, but actually someone has to undertake this task and it fell to my lot as Director of the International Centre for the Study of the Preservation and Restoration of Cxiltural Property (ICCROM). An introduction to conservation such as this has difficulties in striking the right balance between all the disciplines involved. The writer is an architect and, therefore, a generalist having contact with both the arts and sciences. In such a rapidly developing field as conservation no written statement can be regarded as definite. This booklet should only be taken as a basis for further discussions. ACKNOWLEDGEMENTS In writing anything with such a wide scope as this booklet, any author needs help and constructive comments. -
Selection in Web Archives: the Value of Archival Best Practices
WITTENBERG: SELECTION IN WEB ARCHIVES Selection in Web Archives: The Value of Archival Best Practices Jamie Wittenberg, University of Illinois at Urbana-Champaign, United States of America Abstract: The abundance of valuable material available online has mobilized the development of preservation initiatives at collecting institutions that aim to capture and contextualize web content. Web archiving selection criteria are driven by the limitations inherent in harvesting technologies. Observing core archival principles like provenance and original order when establishing collection development policies for web content will help to ensure that archives continue to assure the authenticity of the materials they steward. Keywords: Web Archives; Archival Theory; Digital Libraries; Internet Content; Selection and Appraisal Introduction The abundance of valuable material available online has mobilized the development of preservation initiatives at collecting institutions that aim to capture and contextualize web content. Methodologies for web collection practices are institution and collection-specific. Among institutions charged with preserving cultural heritage, web archiving has become commonplace. However, the disparity between institutional selection and appraisal criteria reveals the absence of standardization for web archive establishment. The Australian web archive, for example, accessions content that it evaluates as having long-term research value. The Library of Congress web archive, represented by its Minerva team, established a collection -
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 -
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: -
Report of a Preservation Needs Assessment Executive Summary
Report of a Preservation Needs Assessment Wrentham Historical Commission Wrentham, MA March 29, 2018 Submitted on June 8, 2018 Sean Ferguson Preservation Specialist Northeast Document Conservation Center 100 Brickstone Square Andover, MA 01810 978.470.1010 [email protected] Executive Summary Paper-based, audiovisual and photographic materials housed in the Old Fiske Library Museum of the Wrentham Historical Commission (WHC) were assessed for preservation planning purposes by Sean Ferguson, Preservation Specialist for the Northeast Document Conservation Center (NEDCC) in Wrentham, MA on March 29, 2018. Simmons College graduate student Lauren Hansen joined the assessment as an educational opportunity and observed and took part in the assessment. The assessment evaluated the buildings and environments as they relate to the preservation needs of the materials; examined current policies, storage, and handling procedures; and assessed the general condition of materials. Observations and recommendations are based on a pre-site visit questionnaire, a full-day site visit, and discussions with Chairman Greg Stahl, Vice Chairman Leo Baldyga, Treasurer and Secretary Susan Harris, Members Marion Cafferky, William Keyes, Alex Leonard, Kim Shipala, and Volunteer Cheri Leonard. Wrentham Historical Commission was established on March 27, 1967 and is responsible the stewardship and exhibition of Wrentham’s history. To these ends, WHC maintains an archives of historical materials and artifacts, manages the circa 1740’s Wampum House, and operates a plaque program to mark locations of historical significance in the Town. In 2010, WHC renovated the Old Fiske Museum, which was formally the town library, to make it suitable for the storage of historical collections. Following the renovation, the Commission relocated nearly all its historical collections into the Museum. -
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. -
AATA Online Categories
AATA Online Categories Methods of Examination, Analysis, and Documentation (formerly A1-A5) Contains abstracts about the process of obtaining and/or storing information using a variety of techniques, including microscopy, imaging, and dating techniques; analytical techniques that establish chemical composition or physical state; data collection and management (e.g., GIS and GPS); and computer modeling. If the abstract deals with a method of analysis or examination independent of a specific material, or if it deals with the analysis or examination of too wide a range of materials to justify inclusion in Materials and Objects: Analysis, Treatment, and Techniques, it is classified here. Crossover technology and technology transfer are also included in this section. Field Editor: Marie-Claude Corbeil, Canada Preventive Conservation and General Topics (formerly B1-B5) Abstracts in this section address the general body of knowledge relating to preventive conservation, collections care, general treatment procedures and materials, conservation practice, health and safety, policy and legislation, history, ethics, and theory. Included as well are abstracts relating to conservation management and cultural tourism. Abstracts that are potentially relevant to all conservators, regardless of specialty, or that discuss a wide variety of materials appear here. For example, a work dealing with the effects of environmental pollution on cultural property in general would be included in this section, whereas a work describing the effect of pollution on the corrosion of metals would be located in Metals and Metallurgical By-products. Field Editors: Ruth Norton, United States, and Francoise Hanssen-Bauer, Norway Archaeological Conservation (formerly C1-C5) Focuses on the documentation, analysis, and management of both underwater and terrestrial archaeological sites and assemblages for the purposes of their conservation and preservation. -
2016 Technical Guidelines for Digitizing Cultural Heritage Materials
September 2016 Technical Guidelines for Digitizing Cultural Heritage Materials Creation of Raster Image Files i Document Information Title Editor Technical Guidelines for Digitizing Cultural Heritage Materials: Thomas Rieger Creation of Raster Image Files Document Type Technical Guidelines Publication Date September 2016 Source Documents Title Editors Technical Guidelines for Digitizing Cultural Heritage Materials: Don Williams and Michael Creation of Raster Image Master Files Stelmach http://www.digitizationguidelines.gov/guidelines/FADGI_Still_Image- Tech_Guidelines_2010-08-24.pdf Document Type Technical Guidelines Publication Date August 2010 Title Author s Technical Guidelines for Digitizing Archival Records for Electronic Steven Puglia, Jeffrey Reed, and Access: Creation of Production Master Files – Raster Images Erin Rhodes http://www.archives.gov/preservation/technical/guidelines.pdf U.S. National Archives and Records Administration Document Type Technical Guidelines Publication Date June 2004 This work is available for worldwide use and reuse under CC0 1.0 Universal. ii Table of Contents INTRODUCTION ........................................................................................................................................... 7 SCOPE .......................................................................................................................................................... 7 THE FADGI STAR SYSTEM ....................................................................................................................... -
Repurposing Archival Theory in the Practice of Data Curation
Repurposing Archival Theory in the Practice of Data Curation Elizabeth Rolando| Wendy Hagenmaier |Susan Wells Parham Introduction Methodology • Expansion of data curation and digital archiving services at the Georgia Tech Library • Process the same digital collection, once by data curator, once by digital archivist and Archives. • Data curation processing informed by OAIS Reference Model1, ICPSR workflow2, and • How do data curation and archival science intersect? UK Data Archive workflow3 • How can comparing data curation and archival science lead to improvements in • Archival processing informed by concepts, such as appraisal, respect des fonds, local workflows and practices? original order, and archival value4, as well documented practices at peer institutions • Compare processing plans to discover areas of agreement and areas of conflict Data Transfer Data Processing Metadata Processing Preservation Access Unique Data Curation Processing Steps -Deposit agreement modeled on -Format transformation policies -Review and enhancement of -Varied retention periods, -Datasets treated as active and institutional repository license guided by reuse over preservation README file, used to accommodate determined by Board of Regents reusable -Funding model for sustainability -Create derivatives to promote diverse depositor needs Retention Schedule and funding -Datasets linked to publications access and re-use model -Bulk or individual file download -Correct erroneous or missing data Common Processing Steps -Data quarantine -Format identification -
A: Mandates and Standards for NPS Museum Collections
Appendix A: Mandates and Standards for NPS Museum Collections Page A. Overview...................................................................................................................................................... A:1 B. Laws, Regulations, and Conventions – NPS Cultural Collections......................................................... A:1 Laws related to NPS cultural collections ...................................................................................................... A:1 Regulations related to NPS cultural collections............................................................................................ A:4 International conventions related to NPS cultural collections....................................................................... A:5 Contacts for laws, regulations, and conventions – NPS cultural collections ................................................ A:6 C. Laws, Regulations, and Conventions – NPS Natural History Collections............................................. A:6 Laws related to NPS natural history collections ........................................................................................... A:6 Regulations related to NPS natural history collections................................................................................. A:8 International conventions related to NPS natural history collections............................................................ A:8 Contacts for laws, regulations, and conventions – NPS natural history collections ....................................