COLLECTIONS CARE AND PRESERVATION

HIST 291/FAH 288 SyllabusLocation: Tisch Library 314/Time: Wednesdays 6:30-9:30Fall 2008 Semester (September 3 - December 3, 2008 )

Instructor:Ingrid A. Neuman, Conservator in Private PracticeBerkshire Art Conservation, Newton, MassachusettsE-mail address: berkart@earthlink.net

COURSE DESCRIPTION:

This course will be an introduction to the preservation of a wide variety of materials found within both large and small museums, historical societies and historic houses. The student can expect to gain a basic understanding about the chemical and physical nature of material culture centering around the many agents of deterioration: light, temperature, humidity, pests, pollution and humankind. Preventive Conservation strategies and protocol including the proper care and handling of artifacts will be stressed as well as appropriate and safe, basic cleaning and “maintenance” of objects will be discussed. The role of science within the field of conservation will be covered. Other essential topics which will be presented and discussed will include: how to survey an art collection, how to establish an Integrated Pest Management (IPM) Program in a collecting institution and how to properly prepare for and respond to an emergency at an institution. Practical knowledge of proper exhibition and storage techniques and materials will be emphasized. There will be hands-on opportunities to learn about many types of tools and equipment that are useful for the potential museum staff member. Bibliographic, internet, video as well as visual slide resources will be utilized throughout the course.

Class format will include: lecture, power point/slide presentations, videos/DVD and some class discussion as well as hands-on demonstrations of tools and techniques for exhibition and storage and demonstration of environmental monitoring equipment. Class participation is expected and encouraged. The course includes field trips to local museums and conservation labs. Students will learn how to conduct an examination and condition report of an artifact at the Tuft’s University Art Gallery. An in-class quiz on the reading will be given. A larger and more comprehensive written assignment on an individual medium with an oral presentation to the class is required for successful completion of this course.

Snow Date: In the event that the University officially closes due to bad weather, the make-up date for this class will be a mutually agreed upon date to be determined. To learn if class is cancelled, please call Tufts Emergency Closing Information Number: 617.627.INFO. We will also be in contact by e-mail and/or telephone, should this, or for any other reason for class cancellation, occur.

Assignments/Grading:

All required reading can be completed before or after each class. Points will be taken off for written work that is late. All field trips are mandatory, since important material will be discussed and relevant procedures observed at each of these sessions. If you miss a class for any reason, please contact me as soon as possible to determine the best course of action. If a field trip is missed, I will attempt to work out an alternative assignment. You are responsible for obtaining readings, notes, assignments and hand-outs from any class you might miss from a student of your choice. No Incompletes will be given and all students must complete all assignments.

Evaluation will be based on:

* Attendance (including field trips) and class participation (25%)* Written Condition Report at the University Art Gallery (10%)* Open Book Quiz (15%)* Final Written Research Paper (25%)* Oral Presentation (25%)

Required Course Bibliographic Reference: Prepared Course Reading Packet (available first night of class)

Recommended Course Texts (available in the Tufts University Bookstore):

Canadian Conservation Institute. CCI Notes. Ottawa: Canadian Conservation Institute. 1999.Knell, Simon. Care of Collections. New York: Routledge. 1994.Winterthur Decorative Art Series. The Winterthur Guide to Caring For Your Collection. University Press of New England, Hanover and London. 2000.

Note: Additional excellent references now out-of-print but may be available in used bookstores and Amazon.com:Appelbaum, Barbara. Guide to Environmental Protection of Collections. Soundview Press: Madison, Connecticut. 1991. (On Reserve in Tisch)

Bachmann, Konstanze, ed. Conservation Concerns: A Guide for Collectors and Curators. New York: Smithsonian Institution, Washington, D.C. Smithsonian Institution Press. 1992.

Whelchel, Harriet, ed. Caring For Your Collections. Heritage Preservation. New York: Harry Abrams, Inc., 1992

September 3, 2008

What IS Collections Care and Preservation?An introduction to collections care and preservation: definitions (such as preservation verses conservation verses restoration), The American Institute for Conservation of Historic and Artistic Works (AIC) including the Code of Ethics and Standards of Practice, reputable collections care bibliographic references and internet resources will be covered. Introduction and background of students in course will be shared and a review of the objectives of the course will be clarified. An introduction to the types of materials and artifact composition will be covered. Materials and terminology to be discussed will include: inorganic (non-living) and organic (once living) - paper, paintings, frames, textiles, photographs, furniture, sculpture, historic, archaeological and ethnographic materials. A nine-minute video: ”Introduction to Preventive Conservation” (#1 CCI series) will be shown.

Required Reading in Course Reading Packet:Corr, Susan. “Introduction to Collections and Museums”, Caring for Collections, c. 2000. pp.9-12.Bradley, Susan M. “Do Objects Have a Finite Lifetime?”. Care of Collections, Routledge. C. 1994, pp.51-59 (Chapter 6 - Knell)Fifield, Rebecca L. “A Legacy at Work: Collections Care Specialists at the Museum of Fine Arts, Boston”, pps. 29-45.Long, Jane S. And Richard W., “An Ounce of Prevention is Worth a Pound of Cure”, Caring for Your Family Treasures, c. 2000, pp.14-21.Muething, Garnet, Robert Waller and Fiona Graham. “Risk Assessment of Collections in Exhibitions at the Canadian Museum of Nature”, JAIC 44 (2005):233-243Stoner, Joyce Hill. “The Mortality of Things”, Caring For Your Collections. Harry N. Abrams, Inc. c. 1992. pp.10-16.Sullivan, Missy. “Rotten Chocolate”, Forbes Magazine, December 22, 2003

Reading on Reserve:Appelbaum, Barbara. “The Role of the Non-Conservator in the Preservation of Collections”, Guide to the Environmental Protection of Collections, pp. 9-24.

Internet Resources:AIC, Code of Ethics and Standards of Practice, AIC web-site, http://aic.stanford.edu/about/index.html.AIC, Position Paper on “Conservation and Preservation in Collecting Institutions”, June 2002. “Definitions of Conservation Terminology”. All available on the AIC web site, click “About AIC” and then go to “AIC Core Documents”.The New Orleans Charter for Joint Preservation of Historic Structures and Artifacts APT/AIC BCIN, Bibliographic Database of the Conservation Information NetworkPreservation 101, NEDCC (www.nedcc.org/home.php)

info@museums.caCanadian Conservation Institute, ccc-e-news, www.cci-icc.gc.ca/main_e.aspx

September 10, 2008Meet at the Tufts University Art Gallery, Aidekman Center

The Ultimate Preventive Conservation Strategy: Measuring and Controlling the EnvironmentIntroduction to the Museum Environment and the Five Agents of Deterioration

Physical and chemical agents of deterioration such as: light, temperature, humidity, pollutants, pests and humankind (handling issues) will be covered. “Inherent Vice” will also be introduced as a concept. Demonstration of environmental equipment, tools and materials for the museum professional will be given and the students will have a chance to use them in the Gallery setting.Climate Notebook software will be introduced.

Required Reading in Course Packet:

Corr, Susan. “The Contents of a Collection”, Caring For Collections: A Manual of Preventive Conservation, pp.30-43.

Gilroy, David and Ian Godfrey, ed., “Preventive Conservation”, Conservation and Care of Collections, pp.1-10.

Pye, Elizabeth. “Change in Materials and Objects”, Caring for the Past: Issues in Conservation for Archaeology and Museums, pp.77-98.

Winterthur Decorative Arts Series. “General Care” (Chapter 1), The Winterthur Guide to Caring for Your Collections, pp.9-17.

Walsh, Judith. “Protecting Works of Art from Damage By Light”, c. 1991, 1995 Tru Vue, Inc.

References on Reserve:

Care of Collections, Chapter 8. “Preventive Conservation”, Getty Conservation Institute.

CCI Notes, 2/1, 2/2, 2/3, 2/4, 2/5 (Preventive Conservation) and 3/1, 3/2, 3/3, 3/4 (The Museum Environment - Biological Factors)

Thomson, Gary. The Museum Environment. 2nd Edition. London: Boston: Butterworths, in association with the International Institute for Conservation of Historic and Artistic Works, 1986. Familiarize yourself with this importance reference

Websites and Internet References:

Conserve O Gram Series, National Park Service - familiar yourself with this web-site

Additional Reading in Course Packet on the Museum Environment:

Craddock, Ann Brooke. “Control of Temperature and Humidity in Small Institutions”. Conservation Concerns: A Guide for Collectors and Curators. pp. 15-22

Gilroy, David and Godfrey, Ian. “Mould and Insect Attack in Collections”. Conservation and Care of Collections. pp. 11-19.

Kerschner, Richard. “A Practical Approach to Environmental Requirements for Collections in Historic Buildings”. Journal of the American Institute for Conservation.

Olson, Elizabeth. “Techniques That Might Smile Upon Lisa”. New York Times, Saturday, January 1, 2005.

Padfield, Tim. “Why Keep Climate Records – and How to Keep Them”. August 17, 2007.

Stolow. Nathan,. “Silica Gel and Related RH Buffering Materials, Conditioning and Regeneration Techniques”, Care of Collections, Routledge, pp.93-101 (Chapter 10, Knell)

Weintraub, Steven. “Creating and Maintaining the Right Environment”. Caring For Your Collections. Harry N. Abrams, Inc., pp.19-29.

Reading on Reserve:Rose, Carolyn R., Hawks, Catherine A., Genoways, Hugh H., Storage of Natural History Collections: A Preventive Conservation Approach, pp. 255-290.

Thomsen, Gary. The Museum Environment. Butterworths: London - this is on Reserve. Review and familiarize yourself with the chapters in this traditional reference.

Internet Resources:www.heritagehealthindex.org - Chapter 5: Collections EnvironmentImage Permanence Institute, Climate Notebook

September 17, 2008 Part - 2 The Basic Condition Report: Establishing a Base-line…

Written documentation and condition reporting. Sample condition reports will be distributed. More detailed information on terminology relating to organic and inorganic materials will be presented. CCI video #19 entitled: The Care of Museum Objects” will be viewed. Powerpoint/slide presentation on condition terms. Demo of ultraviolet light will be shown as it is used in examination of museum artifacts. What comprises a Condition Report File?

Assignment: Visit the University Art Gallery including the Garry Remis Sculpture Court and the Slate Corridor or use the sculptures in the Tisch Library. Select an object on display and undertake a written examination and condition report. Illustrate the current condition in both words and diagrams. Assignment due: September 24, 2008.

Required Reading in Course Packet:“When is it Time to call a Paintings Conservator?”; “Warning Signs: When Textiles Need Conservation”; “Furniture Conservation”. Conservation Concerns: A Guide for Collectors and Curators. Smithsonian Institution press. pp. 63-67, 85-90, 105-109.

Demeroukas, Marie. Basic Condition Reporting: A Handbook. Southeastern Registrars Association, c. 1998. pp. 1-8.

Keene, Suzanne. “Audits of Care: A Framework for Collections Condition Surveys”. Care of Collections, pp.60-82.

Reading on Reserve:

Bragonier, Jr. and David Fisher, editors. What’s What. New York: Ballantine Books, 1981.

Buck, Rebecca A. Gilmore, Jean Allman. The New Museum Registration Methods. American Association of Museums. pp. 57-101. (Review)

CCI Notes # 1/5, 13/8, 9/1 and 10/17

Demeroukas, Marie. Basic Condition Reporting. Southeastern Registrar’s Association. Familiarize yourself with the specialty sections of this book.

Internet Resources:CAMEO (Conservation and Art Materials Encyclopedia On-line) CD: Introduction to Museum Documentation, Scottish Museum Council, 2002

Hand-outs: Example of Condition Report forms for various media

Collection Care kits: Acid-free label selection

September 24, 2008

How to Handle Art and Artifacts/Photographic Documentation

Proper handling techniques for works of art and how they relate to preventing physical and chemical deterioration will be covered in this class. Other important health and safety issues as they relate to handling art objects will be discussed. Written and photographic documentation necessary for condition reporting museum collections will be introduced. Video: “Art Is Not Ice Cream: Principles for Art Handling” (Art Gallery of Toronto). Labeling of artifacts will be introduced, including techniques and materials. A demonstration of labeling techniques will be performed and there will be practice opportunity for students. Optional: Bring in a personal artifact to label if you would like or practice labeling the challenging artifacts brought in by instructor.

Required Reading in Course Packet:Baker, Cathleen A. and Randy Silverman. “Misperceptions about White Gloves”. International Preservation News, No.37 December 2005.Conserve-O-Gram, 2/19, “Guidelines for the Handling of Pesticide Contaminated Collections”.Conserve-O-Gram, 2/10, “Hazardous Materials in your Collection”.Davis, Nancy. Handle with Care: Preserving Your Heirlooms. Rochester Museum and Science Center, c. 1991. pp.7-15.Rowlison, Eric B. “Rules of Handling Works of Art”, Care of Collections, Routledge, pp.202-212 (Chapter 24 - Knell)

Reading on Reserve:Applebaum, Barbara. Guide to Environmental Protection of Collections. pp.159-224. CCI Notes: #10/6, 10/7, 10/11, 10/13 (Condition Reporting and Handling Paintings)Odegaard, Nancy. A Guide To Handling Anthropological Museum Collections. The Western Association for Art Conservation, c. 1992. Familiarize yourself with this short publication.

Internet Resources:“Care and Handling General Guidelines for Paper Artifacts and Books” (from Preservation 101 on-line course).

Collection Care Kits: Latex and Nitrile glove samples

October 1, 2008Field TripThe first half of the class will be held at the Isabella Stewart Gardner Museum. Meet at the side door on Palace Road. This class starts at 6 PM sharp! We will meet active working museum professionals in the Objects and Tapestry Conservation Departments. There will be a presentation on the environmental modifications to this very special and unique historic house art museum as well as see actual conservation treatments in progress. At 7:15, we will walk across the road to go to the Boston Museum of Fine Arts where the second half of the class will continue. We will meet Richard Newman, Staff Conservation and Research Scientist, from the Department of Conservation and Collections Management. Topics to be presented will include: the tools and techniques of instrumental analysis and materials testing.

Required Reading in Course Packet:

Baer, Norbert S. and Banks, Paul N. “Indoor Air Pollution: Effects on Cultural and Historic Materials”, Care of Collections. Routledge, pp. 135-146.Chavannes, Meta and Louis van Tilborgh, “A Missing Van Gogh Unveiled”, The Burlington Magazine, August 2007, CXLIX, pps. 546-550.Cotter, Holland. “Tall, Dark and Fragile”, New York Times, August 1, 2008. Duffy, Kate and Carlson, Janet. “Science and Your Collection”, The Winterthur Guide to Caring for Your Collection. Winterthur Decorative Art Series, pp.19-29.Intermuseum Conservation Association. “Art Forgeries and Deceptive Fluorescent Varnishes”. ICA Newsletter, 2004Lennard, Frances. “Preserving Image and Structure: Tapestry Conservation in Europe and the United States”, Reviews in Conservation, 2007 IIC, pps. 43-53.Newman, Richard. “Authenticating Your Collections”. Caring For Your Collections. Harry N. Abrams, Inc.: New York, pp.172-179.Vogel, Carol. “The Case of the Servant With the Fur Collar”, The New York Times, Thursday, September 22, 2005.Wilmers, Gertrude. “Del Sarto Rediscoveries Aided by Science: Workshop Practices Redefined”, IFAR Journal, Vol. 4, No. 4/Vol.5, No. 1. 2001/2002.

Internet Resources:ANSI-NISO Z39-79-2001.pdfMfa.org website: A Missing Van Gogh Unveiled and Greek Vase Conservation Project.

Required Reading on Reserve:Appelbaum, Barbara. Guide to Environmental Protection of Collections. pp. 25-96CCI Note: # 17/2

Hand-out: The Getty Conservation Institute Newsletter, Volume 22, Number 1 2007

October 8, 2008

A Crash History in Exhibition Materials - Do’s and Don’ts

Exhibition and display materials, past and present. Slide presentation and discussion of the history of museum exhibits and their caveats as well as modern approaches to display of collections. Hands-on explanation of materials which are considered safe and appropriate for museum display and why. Demonstration of un-framing and re-framing works of art in paper. Glazing choices will be reviewed. Micro-environments such as Passe-partout will be discussed. Review “Exhibition Conservation Guidelines”, National Park Service CD.

If time allows: *Hands-on: Bring in a flat artifact such as a postcard, or other paper image to Mylar encapsulate - it must be smaller than 9" x 12" (see NEDCC pp. 373-380)*Demonstration - making a padded hanger for a costume.

Reading in Course packet:Hatchfield, Pamela. “Wood and Wood Products”. Storage of Natural History Collections: A Preventive Conservation Approach. pp. 283-290.Jacobson, Claudia. “Preparation”. The New Museum Registration Methods. American Association of Museums. pp.121-125.Kennedy, Randy. “Renaissance Sculpture Damaged in Fall at Met”. The New York Times, July 2, 2008.Northeast Document Conservation Center. “How to Do Your Own Matting and Hinging”. Preservation of Library & Archival Materials: A Manual. pp. 381-387.Raphael, Toby J. “Preventive Conservation and the Exhibition Process: Development of Exhibit Guidelines and Standards for Conservation”, JAIC 44 (2005):245-257.Weintraub, Steven and Wolf, Sara J. “Macro- and Micro-Environments”. Storage of Natural History Collections: A Preventive Conservation Approach. pp.123-134.

Reading on Reserve:Appelbaum, Barbara. Guide to Environmental Protection of Collections. pp. 97-116.

CCI Notes: #11/1, 11/3, 11/5, 11/6, 11/8, 11/9, 11/10, 13/4, 13/6, 15/3, 15/4.

Raphael, Toby. “Exhibition Conservation Guidelines”. National Park Service. CD Format. Familiarize yourself with this valuable resource.

Collection Care Kits : Exhibition Materials (Mylar, Marvelseal, Blueboard, Coroplast and Mat Board)

October 15, 2008

The Cleaning Controversy: “To Clean or Not To Clean” – That is the question…!Special Guest Speaker: Lydia Vagts, Paintings Conservator, Museum of Fine Arts Boston, presenting on “Cleaning the Sargent Murals at the Museum of Fine Arts, Boston”.

When to clean, why to clean, how to clean...when it is inappropriate to clean artifacts! Methods of basic and superficial cleaning of artifacts and furniture will be covered. SPNEA (Now Historic America) Housekeeping video will be partially viewed. Demonstration of rolling swabs, grating erasers and waxing of coated wooden surfaces. Vacuuming basics and fiberglas screen interface construction. Review of techniques to minimize dirt and dust accumulation on collections. Tips on cleaning and polishing historic silver. Review of pollutants. During Class: Selection of and sign-up for specific medium for oral presentation and written final paper (8-10 pages).

Required Reading in Course Packet:AIC News, “Lasers Have Come of Age in the Disciplines of Objects and Architectural Conservation”, March 2007, Vol.32, No.2.CCAHA, “Managing a Mold Invasion: Guidelines for Disaster Response”, Technical Leaflet Series No. 1. Hedley, Gerry. “Cleaning and Meaning: The Ravished Image Reviewed” . Care of Collections (Chapter 2), pps. 21-29.Ohlson, Kristin. “Conservation Wars”, Oberlin Alumni Magazine, Fall 2002. pps. 18-23.Pocobene, Gianfranco. “The Conservation of John Singer Sargent’s Boston Public Library Murals”, AIC News, March 2004, Vo. 29, No.2.Randolph, Pamela Young. “Museum Housekeeping: Developing a Collections Maintenance Program”.Stoner, Joyce Hill. “The Debate Over Cleaning Paintings: How Much is Too Much?”, IFAR Journal, Vol.5, No.3, 2002.Trachtman, Paul. “Cleaning Picasso”, Smithsonian, October 2004. pps.90-94.Reading on Reserve:Science for Conservators. Cleaning (Book 2 of 3). Crafts Council Conservation Science Teaching Series. Crafts Council: London, 1983. Technical cleaning descriptions with detailed chemistry.CCI Note 8/1: Removing Mold From LeatherCCI Note 13/7: Washing Non-Coloured Textiles”CCI Note 18/2: “Making a Mini-Vacuum Cleaner”Internet Resources:CCAHA - http://www.ccaha.orgNational Park Service. The Museum Handbook (on-line)Conserve O Grams. The National Park Service. #2/1, 2/3, 2/4, 2/10, 2/13. 2/14, 2/16, 2/17, 2/19.Web-Sites: Documenting the history, interpretation, and restoration of John Singer Sargeant’s monumental mural cycle, The Triumph of Religion, at the Boston Public Library. Sargeantmurals.bpl.org and The Cleaning of Michelangelo’s “David”. Beck’s website: Artwatch and the Bill of Rights for a Work of Art.

Collection Care Kits: (Dust Bunny, rolled swab), fiberglas screen swatches, muslin for vacuum

October 22, 2008The Importance of Good and Safe Storage

An introduction to concepts in museum storage for groups of objects and individual artifacts on both a generous budget and a shoe-string budget. Slide presentation of re-housing scenarios for a wide variety of media and museum artifacts. Excerpts from “Best Practices in Fine Art Storage” will be shown. Short presentation by former Tufts Museum Studies student (Mike Schuetz, Historic New England) on Integrated Pest Management (IPM).

* Demonstration of rolling a textile for storage and padding out museum garments for storage*Small Group hands-on opportunity to use archival materials to build a storage support or housing unit. A finished product must be completed and must be evaluated by instructor prior to dismissal.*Sample materials will be collected by each student. Bring in a tool box or art bin to build a collection of materials.

Required Reading in Course Packet:

Craddock, Ann Brooke. “Construction Materials for Storage and Exhibition”. Care of Collections. Routledge. pp. 129-134.(Knell, Chapter 16)Hilberry, John D. “Behind the Scenes: Strategy for Visible Storage”, Museum News, July/August 2002Kaplan, Emily, Leslie Williamson, Rachel Perkins Arenstein, Angela Yvarra McGrew and M ark Feitl. “Integrating Preventive Conservation into a Collections Move and Rehousing Project at the National Museum of the American Indian”. JAIC 44 (2005): 217-232.Linnie, Martyn J. “Pest Control in Museums: The Use of Chemicals and Associated Health Problems”. Care of Collections. Chapter 27NEDCC, “Storage Furniture: A Brief Review of Current Options”. Technical Leaflet Section 4, Leaflet 2. “Selection of Suitable Quality Storage Enclosures for Books and Artifacts on Paper”. Technical Leaflet Section 4, Leaflet 4. “Storage Solutions for Oversized Paper Artifacts”, Technical Leaflet, Section 4, Leaflet 9.Rose, Carolyn L., de Torres, Amparo R., Storage of Natural History Collections: Ideas and Practical Solutions. pp. 15-18, 41-44, 51-52, 123-124,157-158, 283-284.Reading on Reserve: CCI Notes: 1/1, 10/2, 10/3, 10/10, 11/1, 13/2, 13/3, 13/5, 13/12, 15/3. CCI Notes: 3/1, 3/2, 3/3, 3/4 (Pest Management)Rose, Carolyn L., Hawks, Catherine A. And Genoways, Hugh H., ed., Storage of Natural History History Collections, SPNHC, pp. 211-233

Internet References:www.heritagehealthindex.org - Chapter 6: Collection Storagewww.museumpests.net

Collection Care Kits: Ethafoam, twill tape

October 29, 2008Location: Chemistry Lab/Barnum 208

QUIZ (open book) in class on material presented and discussed, including the reading assigned, to date.

Focus of this evening’s class will be on:*Examination of 19th and 20th century photographic techniques using magnification to gain

familiarity with the visual appearance of common 19th and 20th century photographs in order to form a Preservation Plan.

* Simple micro-chemical testing including the Beilstein test, the Oddy test, the sodium azide test for the detection of sulphur in museum display fabrics for instance, the silver nitrate test for the detection of chlorides, in order to discern deleterious components which may adversely influence the preservation of museum artifacts either on display or in storage.

Examination and testing of plastic “knowns” and “unknowns” (Caveman Chemistry Kit). * Discussion on the challenges of Conservation of Polymer Materials.

Caveats regarding modern materials such as plastics and polymers as well as hazardous materials/collections potentially encountered in a museum environment will be detailed. (Optional visit to Plastics Museum in Leominster, Ma.) Related web-site: artscraftstheatresafety.org. American Industrial Hygiene Association (703) 849-8888.

*As time allows, we will take this opportunity to look at other materials, such as prepared slides of pigments, under the microscope to gain an appreciation for their structure and identifying characteristics and how they can be differentiated in conservation science.

*ID of ivory and ivory substitutes (http://www.lab.fws.gov/ivory.html)

In Class References:

Baldwin, Gordon. Looking at Photographs: A Guide to Technical Terms. The J. Paul Getty Museum in association with the British Museum Press. c. 1991CCI Note# 17/1. “The Bielstein Test:A Simple Test to Screen Organic and Polymeric Materials for the Presence of Chlorine”Ivins, Jr., William M. How Prints Look: Photographs with Commentary, Beacon Press: Boston, 1987.McCabe, Constance, ed. Coatings on Photographs: Materials, Techniques and Conservation. Washington D.C.: American Institute for Conservation. 2005Odegaard, Nancy. Material Characterization Tests for Objects of Art and Archaeology. London/Archetype Publications. 2000Reilly, James. 1996. Care and Identification of Nineteenth-Century Photographic Prints. Kodak Publication G-2s. Rochester, NY: Eastman Kodak Co. Reading On-Line:

Polymers (Plastics): Conserve O Gram 14/8 Reading on Reserve: CCI Notes #15/1, 15/3, 15/7

November 5, 2008

The Importance of Disaster PreparednessEmergency preparedness, response and salvage will be the focus of this class, including the “Emergency Response and Salvage Wheel” and the contents of an “Emergency Cart”. CCI Video #9 on “Disaster Contingency Planning” will be viewed. Demonstration of salvage methods for a wide variety of media will be presented. A template for a Disaster Plan will be handed out.

Required Reading in Course Packet:Emergency Preparedness:

Hunter, John E. “Museum Disaster Preparedness Planning”. Care of Collections. Routledge, New York and London. pp. 246-259 (Chapter 29)

Roberts, Barbara. “Emergency Preparedness”. Storage of Natural History Collections: A Preventive Conservation Approach. pp. 81-88.

Rose, Carolyn and de Torres, Amparo R., “Emergency Cart for Protecting Collections From Water Damage”. Storage of Natural History Collections: Ideas and Practical Solutions. pp. 285-287

Upton, M.S. and Pearson, C. “Emergency Treatment of Materials”, Care of Collections (Chapter 30)

Reading on Reserve:CCI Notes: 2/6, 2/7, 2/8, 10/5, 14/1, 14/2Heritage Emergency Task Force. “The Emergency Response and Salvage Wheel”. Review its contents and how it works.Lord, Allyn and Carolyn Reno and Marie Demeroukas. Steal This Handbook: A Template for Creating a Museum’s Emergency Preparedness Plan. Southeastern Registrars Association, 2001. (www.seregistrars.org/Officers.html).

Internet Reference: www.heritagehealthindex.org - chapter 7CCAHA: Salvaging Photograph Collections; Salvaging Art on Paper, Salvaging Books, and Managing a Mold Invasion: Guidelines for Disaster Response

Field Guide to Emergency Response: A Vital Tool for Cultural Institution. Heritage Preservation and Emergency National Task Force, c. 2006

http://www.vmga.org/disaster/DisasterPlanIntroduction.html. “Disaster Planning Resources for Vermont’s Cultural Institutions”. Introduce yourself to this exemplary innovative state resource

Hand-Out: A template for a Museum Disaster Plan, 2006 Heritage Preservation Health Index

November 12, 2008

Guest Speaker: Rika Smith McNally, Outdoor Sculpture Conservator, Framingham, Massachusetts

Large Scale Challenges - Public Art including the on-going care for outdoor sculpture in general. Weather permitting, outside discussion on several of Tuft’s outdoor sculpture. Student group activity: Possible survey of the condition and photo-documentation of an outdoor sculpture on the Tufts Campus. This project will help to create a base-line for the general maintenance of this University collection. SOS! concept presented. View Arthur Beale’s film on the “Antioch Mosaic Project” located at the Museum of Fine Arts Boston.

Outdoor Sculpture References:Naude, Virginia N. and Wharton, Glenn. Guide to the Maintenance of Outdoor Sculpture. American Institute for Conservation of Historic and Artistic Works. Washington, D.C. 1993Naude, Virginia Norton. Edit. Sculptural Monuments in an Outdoor Environment. Pennsylvania Academy of the Fine Arts, Philadelphia. 1985Sturman, S., Unruh, J. And Spande, H. Maintenance of outdoor Sculpture: An Annotated Bibliography, National Institute for the Conservation of Cultural Property: Washington, D.C., 1996U.S. General Services Administration, “Care and Maintenance; Recommendations for Artwork in the Fine Arts Collection”, Office of the Chief Architect, Design Excellence and the Arts, June 2005.Internet Reading: “Giza project” - www.mfa.org

The Next Step - Planning for the Future! Practical information regarding: long-range conservation planning, large-scale conservation assessments and conservation surveys including self-assessment surveys (CAP book) as well as federal grants available to museums (such as Preservation Assistance Grants, Conservation Project Support and Save America’s Treasures Grants) will be covered.

Required Reading in Packet:Surveys/Assessments:Applebaum, Barbara. “Assessing a Specific Collection”. Guide to Environmental Protection of Collections. Sound View Press, Madison, Conn., 1991. pps. 225-229.

Beale, Arthur. “Long Range Conservation Planning for Museums”. Virginia Association

of Museums.Hutchins, Jane Kettel. “Conservation Surveys”Sample - Shelburne Museum Long-Range Preservation Plan

On-line References: Heritage Preservation. “Best Practices for General Conservation Assessments”, pp. 1-14, 2002.available on-line @heritagepreservation.org

Reading on Reserve (continued):Knell, Simon. Care of Collections. Routledge, New York and London, pp. 60-82Patkus, Bath. Assessing Preservation Needs: A Self Survey Guide. Northeast Document Conservation Center. Andover, Massachusetts. 2003

Hand-outs:*Conservation Assessment Information (Heritage Preservation)*Sample of Preservation Assistance Grant Application*Sample Conservation Assessment Program (CAP) grant application

November 19, 2008

(November 26, 2008 – holiday)

Oral Presentations for one-half of the class on a pre-selected medium of the student’s choice. A Powerpoint presentation is encouraged.

Emphasis will be placed upon adhering to time parameters to be determined based on number of students in class.

Each student presentation should be accompanied by a concise hand-out on how the Five Agents of Deterioration relate to the student’s particular chosen medium. One hand-out per student, and the instructor, should be distributed during the presentation.

Examples of possible display and storage strategies, methods and/or materials to be or not to be used in association with the long-term care of the chosen medium are encouraged to be included in the presentation.

An example of the medium can be brought in to class for demonstration purposes if desired and/or feasible.

Written paper of 8-10 pages in length to be handed in focusing on pre-determined topic chosen by each student.

If you would like to have your paper mailed back to you, please included a self-addressed, stamped envelope.

December 3, 2008

Oral presentations for the second-half of class on the pre-selected medium of student’s choice - Powerpoint is encouraged.

Written paper of 8-10 pages in length to be handed in focusing on pre-determined topic chosen by each student.

If you would like to have your paper mailed back to you, please included a self-addressed, stamped envelope.

Collections Care and PreservationFAH 0288A

Fall 2008

Instructor Ingrid Neuman