2012 Sept CAC Bulletin final.p65

Transcription

CAC
ACCR
BULLETIN
Canadian Association for Conservation of Cultural Property / Association canadienne pour la conservation et la restauration des biens culturels
SEPTEMBER 2012 SEPTEMBRE Vol. 37 No. 2 ISSN 1206-4653
President’s Letter
Contents
Table des matières
President’s Letter
Lettre de la présidente
CAC Update - Federal Heritage Cutbacks
1
1
In Memoriam: Joan Pletsch
4
À la douce mémoire de Joan Pletsch 4
CAC Board Members 2012- 2013
Membres du conseil de l'ACCR
pour 2012- 2013
5
39th Annual CAC Conference
39e Congrès Annuel de l'ACCR
10
10
Membership Committee
Comité des adhésions
11
11
Editors’ Note
Note de la rédaction
11
11
CAC Grants & Awards Committee
2012 Grants
2013 Grants and Awards
Comité des bourses et des prix
de l'ACCR
Bourses 2012
Prix et bourses 2013
Charles Mervyn Ruggles Award
Prix Charles Mervyn Ruggles
5
12
12
12
12
14
14
Emerging Conservator 2012 Award 16
Prix du restaurateur émergent 2012 16
Across the Country-Dans tout le pays
Western Region-Région de l’Ouest 17
Eastern Region - Région de l’Est 25
Conference Reports
http://www.cac-accr.ca
31
When we met in Peterborough for our annual conference in May, I understood, as President, your feelings of dismay regarding the cuts to heritage
positions. Most of us knew someone who had lost their position, or who
was slated to do so in the future, and there was a general sense of alarm
about the fate of important collections. I heard the passion and the call to
arms at the AGM, repeated during the action meetings that were held
afterwards; "The CAC must do something about this!" Roughly one month
after the conference, there have been a number of meetings and some
strongly worded letters of protest have been written. Some individuals have
given media interviews and the various arms of the social media machine
have also rallied to the cause with Facebook and Twitter attracting lots of
attention.
About now, you are probably asking "Fine, but what have you actually done
to help?" Firstly, keep in mind that these decisions were graven in stone
Lettre de la présidente
Dernières nouvelles de l'ACCR : Le patrimoine, touché par les
mesures d'austérité fédérales
Lors de notre rencontre à Peterborough à l'occasion de notre conférence
annuelle de mai, j'ai compris, en tant que présidente, votre désarroi face aux
suppressions de postes dans le domaine du patrimoine. La plupart d'entre
nous connaissons quelqu'un qui a perdu son emploi, ou qui figure sur la liste
des prochaines victimes des compressions. C'est donc sans surprise qu'un
sentiment général de panique s'est propagé face au sort d'importantes
collections. J'ai entendu la passion et l'appel aux armes à l'AGM réitérés
durant les réunions d'action qui ont suivi. « Le CAC doit réagir! » Presque
un mois après la conférence, un nombre de réunions ont eu lieu et des
lettres de protestation aux mots forts ont été rédigées. Certains sont
apparus dans des entrevues, tandis que divers bras de la machine des
médias sociaux se sont ralliés à la cause, Facebook et Twitter ayant attiré
particulièrement l'attention.
À ce point vous vous demandez certainement « Très bien, mais qu'avezvous fait en pratique pour aider? » D'abord, rappelez-vous que ces
décisions ont été gravées dans la pierre bien avant que quiconque d'entre
CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre
1
long before any of us even became aware of the issues.
It is simply not possible to have any effect on the workings of government from a reactive position.
One of the meetings referred to earlier was with a
government relations firm. They had some very important things to say about the process of affecting government policy. For clarity, their main comments are
presented here in the form of a list. The Board has
already begun to take action on some of the points they
raised and these efforts are noted in italics.
• The CAC is too small to work alone. If we want to
carry any weight in this process we need to band
together with some like-minded organizations with
whom we can present a united front and a louder
voice. The CAC President has begun the process
of reaching out to other organizations to determine whether or not there is a will to proceed in
this direction.
• There will undoubtedly be more cuts coming in the
future and it is important to focus our energies in this
direction rather than trying to reverse decisions that
have already been made. We must be proactive
rather than reactive.
• It is critical that we put the right "spin" on our protest
efforts. Every comment made in any public forum,
including social media, must be non-partisan. We
want to be positive about heritage and the importance
of our profession, rather than negative about our
government. We want the government on our side,
supporting us, otherwise we weaken our position.
Any and all comments must be non-libelous and use
neutral language.
• In addition, we've talked a lot about raising the profile
of conservators and conservation. How are we going
to attract attention if nobody understands who and
what we are? The CAC has earmarked monies to
fund a targeted marketing campaign with the aim
of raising public awareness. Instead of selling to
an informed niche market, we intend to take our
product (us) to the streets.
This kind of proactive publicity and marketing does not
come cheap which is another reason for finding other
organizations with similar objectives to contribute to the
cost. If we start now and make a concentrated effort
we may be in a position to be heard and to have some
effect on the decision making process. Each of you can
help, keeping in mind the positive message. We are all
ambassadors for our profession and it's time we stopped
2
nous ait eu vent de ces problèmes. Il est tout simplement
impossible de produire quelque effet sur le
fonctionnement du gouvernement lorsque l'on occupe une
position réactive.
L'une des réunions mentionnées précédemment s'est
tenue avec une agence de relations gouvernementales.
Celle-ci a fait part de points très importants quant au
processus de modification de la politique du
gouvernement. Pour plus de clarté, les commentaires en
questions sont présentés ci-dessous sous forme de liste.
Le conseil a déjà commencé à agir sur certaines questions soulevées, des efforts signalés plus bas en italiques.
•
L'ACCR e0st trop petite pour œuvrer seule. Si nous
voulons peser dans ce processus, nous devons nous
unir à des organismes qui partagent la même vision et
avec lesquelles nous pouvons présenter un front uni et
une voix forte. La présidente de l'ACCR a
commencé à contacter d'autres organismes pour
déterminer s'il existe ou non une volonté de
procéder dans ce sens.
• Il n'y a pas de doute que d'autres suppressions de
postes auront lieu. Il est donc important de canaliser
nos énergies dans cette direction plutôt que de tenter
de faire annuler des décisions déjà prises. Nous
devons être pro-actifs plutôt que réactifs.
• Il est également crucial que nous donnions le bon «
ton » à nos efforts de protestation. Tout commentaire
diffusé sur tout forum, y compris les médias sociaux,
doit être non-partisan. Nous désirons être positifs
quant au patrimoine et à l'importance de notre profession, et non négatifs à l'égard de notre gouvernement.
Nous voulons avoir le gouvernement de notre côté,
car le cas contraire affaiblirait notre position. Aucun
de nos commentaires ne saurait être diffamatoire.
Nous devons aussi employer un langage neutre.
• Par ailleurs, nous avons beaucoup évoqué la nécessité
de rehausser le profil des conservateurs et de la
conservation. Comment espérer attirer l'attention si
personne ne comprend qui sommes et ce que nous
faisons? L'ACCR a affecté des fonds pour le
financement d'une campagne de marketing ciblée
visant à sensibiliser le public. Plutôt que de
plaider à un créneau informé, nous avons
l'intention de présenter notre produit (nous) au
grand public.
Toutefois, ce type de publicité et de marketing pro-actifs
a un prix. Voilà donc une nouvelle raison de trouver
d'autres organismes aux objectifs similaires pour partager
hiding our light under a bushel. This is something that
may ultimately affect all of us, and we must all do our bit.
In lieu of these events, it has come to my attention that
the membership needs a strong President who can
devote the time and energy needed for these challenging
times. As my other commitments have taken far too
much of my time in the last few months, it seems clear to
me, that the members deserve a president who can
devote the time necessary for these tasks. I therefore
step down as of August 1st, 2012 and am very happy and
proud to announce that Cindy Colford has generously
offered to take my place. I will remain on the board as
Executive Councilor, replacing Cindy in her position.
Cindy Colford was appointed unanimously in my position,
and she has demonstrated exceptional managerial skills
during the conference as well as a long history of work
for the CAC, giving her an excellent understanding of our
issues. The members will be well cared for by her.
Silvia Kindl
la facture. Si nous nous mettons à l'œuvre dès à présent
et que nous fournissons un effort concentré, nous serons
peut-être en position d'être entendus et d'avoir un effet
sur le processus de prise de décision. Chacun d'entre
vous peut contribuer à cet effort, en gardant à l'esprit le
message positif. Nous sommes tous des ambassadeurs.
Il est donc temps de sortir de l'ombre pour nous faire
reconnaître. Parce que nous sommes tous susceptibles
d'être touchés par les suppressions, nous devons tous
apporter notre pierre à l'édifice.
À la lumière de ces événements, j'ai pu remarquer que
nos membres avaient besoin d'un président fort qui puisse
consacrer le temps et l'énergie nécessaires en cette
période parsemée de défis. Mes autres engagements
ayant absorbé un trop grande partie de mon temps au
cours de ces derniers mois, il me semble clair que nos
membres méritent un président en mesure de leur dédier
le temps qu'il faut. En conséquence, je quitte mes
fonctions à compter du 1er août 2012 et c'est avec grand
plaisir et fierté que j'annonce que Cindy Colford a
généreusement offert de prendre ma place et quant à
moi je remplacerai donc Cindy en tant que conseillère
auprès du comité d'administration.
Nommée à mon poste à l'unanimité, Cindy Colford a fait
preuve de compétences de gestion exceptionnelles lors la
conférence. Elle travaille depuis longtemps avec l'ACCR,
ce qui lui confère une excellente perception de nos
problèmes. Avec elle, nos membres seront choyés.
Silvia Kindl
3
In Memoriam
Joan Pletsch
The Royal Ontario Museum is saddened to announce the death of Joan Pletsch, Conservator.
Le Musée royal de l'Ontario (ROM) a le regret de vous
annoncer le décès de Joan Pletsch, restauratrice.
Joan joined the ROM's Conservation Department in
October 1982. As a generalist, she became a "jack
of all trades", providing assistance to Conservators
in all disciplines.
Mme Pletsch s'est jointe à la division de restauration du
ROM en octobre 1982. Généraliste, elle est devenue la
" femme à tout faire " qui venait en aide aux restaurateurs de toutes les disciplines.
Joan helped with preparation
for new galleries from the
beginning of her tenure at the
ROM. She had very fond
memories of preparing artifacts
for the Musical Instrument
Gallery. Her interest in the
subject matter was not solely
that of a conservator; she was
also an amateur cellist.
Joan spent many hours working in the Furniture and
Wooden Objects lab preparing
artifacts for the beautiful
period rooms in the European
Galleries, and more recently,
frames for the Museum's
collections of paintings, many
of which are now on display in
the Canadian Heritage Gallery. Joan was involved
in ROM climate-control efforts for display cases
from the time the Museum purchased its first
humidification/dehumidification machines in the mid1980's. She was often seen in the galleries and
mechanical rooms, climbing ladders and crawling
into very tight places in order to access the equipment. She also fielded questions from Museum
visitors about the role of climate control in the
preservation of collections.
Joan's interest in artifacts led her to develop her
talents in the creation of objects as well as in their
preservation. Her hobbies included drawing,
painting, wood-carving, wire sculpture and several
of the textile arts.
Joan passed away in Toronto in her 59th year. She
will be missed by her many friends and colleagues.
4
À la douce mémoire de
Joan Pletsch
Dès le début de son emploi au
ROM, Mme Pletsch a contribué à
la préparation de nouvelles galeries.
Elle gardait de très bons souvenirs
de la préparation des artefacts de la
galerie des instruments de musique.
Son intérêt pour le sujet ne se situait
pas seulement sur le plan de la
restauration; elle était violoncelliste
dans ses temps libres.
Mme Pletsch a passé de
nombreuses heures dans le
laboratoire des meubles et des
objets en bois pour y préparer des
artefacts pour les salles de la
Belle époque dans les galeries
européennes et, plus récemment,
des cadres pour la collection de
tableaux du musée, dont plusieurs
sont actuellement exposés dans la galerie du patrimoine
canadien. Mme Pletsch participait aux initiatives de
régulation du climat des vitrines d'exposition depuis l'achat
par le musée de ses premiers humidificateurs et
déshumidificateurs au milieu des années 1980. On pouvait
souvent la voir dans les galeries ou les chambres des
appareils mécaniques, en train de grimper une échelle et
de se faufiler dans des endroits exigus pour accéder à
l'équipement. Elle était toujours disponible pour répondre
aux questions des visiteurs à propos du rôle de la
régulation du climat dans la préservation des collections.
L'intérêt de Mme Pletsch envers les artefacts l'a menée à
développer ses talents en matière de création d'objets ainsi
qu'en préservation de ceux-ci. Parmi ses passe-temps,
notons le dessin, la peinture, la sculpture sur bois, les
sculptures en fil de fer et plusieurs arts reliés aux textiles.
Mme Pletsch est décédée à Toronto durant sa 58e année.
Elle manquera à ses nombreux amis et collègues.
CAC Board Members 20122013
Membres du conseil de
l'ACCR pour 2012- 2013
President
Présidente
Cindy Colford
Cindy Colford
Cindy shares her time as a part-time faculty member in
the Arts and Heritage Programs at Fleming College and
as a job-share conservator at the
Peterborough Museum & Archives. For
nearly 15 years, she has worked as a
conservator in a number of institutions
across Canada and in the United States
focussing on preventive and practical
conservation and conservation training.
Cindy has been involved with the CAC
board in a number of capacities including
chair of the training committee, executive
counsellor and 2012 Peterborough conference co-chair. Following Silvia Kindl's
resignation as CAC President, Cindy was
appointed by the board to fulfill the duties of President
for the remainder of this term.
Mme Colford est à la fois membre à temps partiel de la faculté
du programme d'arts et de patrimoine du Collège Fleming et
restauratrice (poste partagé) au Peterborough
Museum and Archives. Pendant près de 15 ans,
elle a travaillé en tant que restauratrice dans
plusieurs institutions au Canada et aux ÉtatsUnis en se concentrant sur la restauration
pratique et préventive et la formation en
conservation-restauration. Mme Colford a
occupé plusieurs postes au sein du conseil
d'administration de l'ACCR, notamment ceux
de présidente du comité de formation, de
conseillère auprès du bureau et de coprésidente
du comité d'organisation du congrès de
Peterborough en 2012. À la suite de la
démission de Silvia Kindl de son poste de présidente de
l'ACCR, Mme Colford a été nommée par le conseil pour
occuper le poste de présidente jusqu'à la fin du présent mandat.
Vice-President
Vice-Présidente
Jessica Lafrance
Jessica Lafrance
Jessica works as a contract objects and archaeological
conservator in Ottawa and also is presently an MAC
student at Queen's University in the research stream.
During 2008 and 2009 she was a Post
Graduate Intern in Archaeology at the
Canadian Conservation Institute and she
continues to work on short contracts with
the institute. Prior to the PPGI, she was
employed as the conservation lab assistant
in the Algonquin College Museum Studies
Program after completing a BSc in Conservation of Objects in Museum and
Archaeology from Cardiff University
(2007), and obtaining a diploma in Applied
Museum Studies from Algonquin College
(2005). She has also completed conservation internships with the Museum of
London, the Newport Ship Project, Parks
Canada, and the Canadian Museum of Nature. Jessica
was previously co-chair of the Emerging Conservator
Committee of the CAC.
Jessica travaille à titre de restauratrice d'objets et
d'artefacts archéologiques à la pige à Ottawa et poursuit
présentement ses études de Maîtrise en restauration à
l'université Queen's, dans le cadre du
programme de recherche. En 2008 et 2009,
elle était stagiaire en archéologie à l'Institut
canadien de conservation. De nos jours,
elle continue de travailler à contrat pour
l'Institut. Antérieurement à son stage
rémunéré à l'ICC, elle a travaillé en tant
qu'assistante au laboratoire de restauration
du programme d'études muséales du
Collège Algonquin après avoir obtenu son
baccalauréat en restauration d'artefacts
muséaux et archéologiques de l'Université
de Cardiff (2007) et un diplôme en études
muséales appliquées du Collège Algonquin
(2005). Elle a aussi effectué plusieurs
stages en restauration au Musée de Londres, au sein du
projet de restauration du navire de Newport, à Parcs
Canada et au Musée canadien de la nature. Jessica a
précédemment été coprésidente du comité des restaurateurs émergents de l'ACCR.
5
Secretary
Secrétaire
Susannah Kendall
Susannah Kendall
Susannah completed the Collections Conservation and
Management program at Fleming College
in December 2006. From 2007 to 2009,
she worked as both a conservation technician at the Manitoba Museum, and as a
conservator at the Winnipeg Art Gallery.
Susannah is currently employed as conservator at Library and Archives Canada in
the Prints and Drawings lab.
Mme Kendall a terminé le programme de conservation et
de gestion des collections du Collège
Fleming en décembre 2006. De 2007 à
2009, elle a occupé des postes de
technicienne en restauration au Musée du
Manitoba et de restauratrice à la Winnipeg
Art Gallery. Mme Kendall occupe
actuellement un poste de restauratrice au
sein du laboratoire d'estampes et de dessins
de Bibliothèque et Archives Canada.
Treasurer
Trésorier
Michael Harrington
Michael Harrington
Michael completed a traditional apprenticeship to a much
respected furniture restorer in Southern Germany.
Returning to Canada in 1980, he enjoyed a long career
with the Canadian Government, initially in the Parliamentary Precinct in Ottawa, before joining Parks Canada as
Senior Furniture Conservator in the regional laboratory in
Winnipeg, Manitoba. He returned to Ottawa as the
manager of the Furniture Furnishings and Reproductions
lab for Parks Canada. Michael joined the
Canadian Conservation Institute in 1992,
first as Senior Furniture Conservator
before leading the conservation staff as
Manager of Treatment and Development
then as the Manager of Preservation
Services and Training.
Michael a complété un apprentissage traditionnel comme
restaurateur de meubles en Allemagne du sud. De retour
au Canada en 1980, il a apprécié une longue carrière au
sein du gouvernement canadien, tout d'abord dans le
milieu parlementaire à Ottawa, avant de joindre Parcs
Canada comme restaurateur en chef du mobilier dans le
laboratoire régional à Winnipeg au Manitoba. Il revient de
nouveau à Ottawa comme gestionnaire du laboratoire de
meubles et de reproductions pour Parcs
Canada. En 1992, Michael a rejoint
l'Institut canadien de conservation (ICC)
premièrement comme restaurateur en chef
du mobilier, avant de diriger les employés
en tant que Gestionnaire du traitement et
du développement en restauration, puis
comme Gestionnaire des services de
préservation et de la formation.
After more than 30 years of service,
Michael left the Canadian Public Service in
2011, and continues to deliver consulting,
training and conservation services. His
commitment to training is also expressed
by his ongoing role as Advisory Committee Chair of the
joint Collections Conservation and Management and
Museum Management and Curatorship Programs at Sir
Sandford Fleming College in Peterborough, Ontario. His
commitment to the profession is also reflected in his role
as Treasurer of the Canadian Association for Conservation.
6
Après plus de 30 ans de service, Michael
quitte la fonction publique en 2011, mais
continue de fournir des services de
consultation, de formation et de restauration. Son engagement comme formateur est aussi exprimé par son
rôle continu comme personne conseille siégeant au
double comité de la "Gestion et de la conservation des
collections" et des programmes de "Gestion et conservation (archivistique) des musées" au collège Sir Sandford
Flemming, à Peterborough en Ontario. Son engagement
envers la profession est également reflété dans son rôle
de trésorier pour l'Association canadienne pour la
conservation et la restauration.
Executive Councillor
Conseillère auprès du bureau
Wanda McWilliams
Wanda McWilliams
Wanda is going into her second year as Executive
Councillor and Director responsible for Membership and
Board Nominations. Wanda has been a member of CAC
since 1986 and a member of the CAPC
since 2003. She has worked extensively in
the National Capital region, in the public
and private sectors, as a Paper Conservator specialized in the conservation and
preservation of historic and contemporary
works on paper. More recently she has
expanded her interests and skills in cultural
resource preservation by taking on assignments in collections resource management,
and supports collections care in public
programming activities such as national and
international loans and exhibitions. Since
August 2011 she is the Manager of Conservation and Preservation at the Canadian
Museum of Civilization, Gatineau Quebec.
Mme McWilliams amorce sa seconde année à titre de
conseillère auprès du bureau et de directrice responsable
des membres et des nominations au conseil. Mme
McWilliams est membre de l'ACCR depuis
1986 et membre de l'ACRP depuis 2003.
Elle a beaucoup travaillé dans la région de
la capitale nationale, autant dans le secteur
public que dans le secteur privé, à titre de
restauratrice du papier spécialisée dans la
restauration et la préservation d'ouvrages
historiques et contemporains sur papier.
Plus récemment, elle a élargi ses horizons
et développé ses habiletés dans la
préservation des ressources culturelles en
acceptant des mandats en gestion des
ressources des collections. De plus, elle
voit à la protection des collections dans le
cadre activités de programmation publique
comme les prêts et les expositions à l'échelle nationale ou
internationale. Depuis août 2011, elle est gestionnaire de
la restauration au Musée canadien des civilisations, à
Gatineau, au Québec.
Silvia Kindl
Silvia Kindl
Silvia graduated from Queen’s Art Conservation Program in 1990, after completing a Bachelors degree in
Studio Art and Art History. She was previously Head of
Conservation at the Canadian Museum of
Civilization after two years as Paper
Conservator there. Before this she ran a
successful business in Paper Conservation
in Montreal from 1995 to 2007, serving a
wide clientele. She has taught Paper
Preservation at College Montmorency in
Laval and offered many workshops on the
topic to the Montreal arts community.
Silvia has volunteered for the CAC since
1990 in various roles, and most recently as
President.
Silvia a obtenu son diplôme du programme de conservation-restauration de l'Université Queen's en 1990, après
avoir terminé un baccalauréat en arts visuels et histoire
de l'art. Elle était auparavant chef de la
restauration au Musée canadien des
civilisations, poste obtenu après avoir
travaillé deux ans comme restauratrice du
papier dans le même établissement. Avant
cela, elle avait administré avec succès son
propre cabinet de restauration du papier à
Montréal de 1995 à 2007, où elle servait une
clientèle très variée. Mme Kindl a enseigné
les techniques de conservation-restauration
du papier au Collège Montmorency, à Laval,
et donné de nombreux ateliers sur le sujet à
la communauté artistique de Montréal. Depuis 1990,
Mme Kindl a donné de son temps à l'ACCR dans
diverses fonctions, dont récemment à titre de présidente.
7
Alison Freake
Alison Freake
Alison became involved with conservation as an
undergrad at Memorial University, both in archaeology
and through short-term positions in the
university library’s preservation lab.
Following graduation from Memorial
(BA, Archaeology/Physical Anthropology,
1999) and Fleming College (CCM 2001),
she made her way to the Provincial
Archives of Alberta in Edmonton, where
she has worked in archival conservation,
as well as outreach and education, since
2001. Alison has been involved with
career development through several
years of employing interns at the Provincial Archives of Alberta through Young
Canada Works, and working with recent
graduates in developing contacts, as well as confidence.
The role of the Executive Councillor includes involvement with career development, and working with the
Emerging Conservators Committee, and is very much in
line with Alison’s particular interest in developing a
mentoring culture within the field of conservation.
Mme Freake a eu ses premiers contacts avec le domaine de
la conservation quand elle était étudiante de premier cycle à
l'Université Memorial, tant dans le programme
d'archéologie que dans des postes temporaires
au sein du laboratoire de préservation de la
bibliothèque de l'université. Après avoir obtenu
ses diplômes de l'Université Memorial
(baccalauréat en archéologie et anthropologie
physique, 1999) et du Collège Fleming (conservation et gestion des collections, 2001), elle est
arrivée aux Provincial Archives of Alberta, à
Edmonton, où elle travaille depuis 2001 en
conservation-restauration des archives ainsi
que dans des activités de sensibilisation et
d'éducation. Mme Freake s'occupe aussi du
développement de carrière depuis plusieurs
années en employant des stagiaires aux Provincial Archives
of Alberta dans le cadre du programme Jeunesse Canada
au travail, et aide de récents diplômés à développer leur
réseau de contacts et leur confiance en eux. Son rôle de
conseillère auprès du bureau comprend la participation aux
initiatives de développement de carrière et la collaboration
avec le Comité des restaurateurs émergents, ce qui cadre
parfaitement avec son intérêt à mettre sur pied une culture
de mentorat au sein du domaine de la conservationrestauration.
Western Regional Councillor
Conseiller régional de l'ouest
David Daley
David Daley
David has been the Conservation Advisor at the University of Calgary Centre for Arts and
Culture since 2004. Before that he
contracted for the Canada Museum of
Science and Technology, the National
Aviation and Agriculture Museums, the
City of Toronto Heritage Division, and
the Kitchener-Waterloo Art Gallery,
among others. He is a founding member
of Ontario’s Dufferin County Museum
and Archives and has interned at the
Canadian Conservation Institute and the
McCord Museum of Canadian History.
After completing the first year of
Algonquin College’s Museum Technology program, he transferred to Sir
Sandford Fleming College’s Collections
Conservation and Management program,
from which he graduated in 1998.
M. Daley est conseiller en restauration au Centre for Arts
and Culture de l'Université de Calgary depuis
2004. Auparavant, il travaillait à contrat pour
le Musée des sciences et de la technologie du
Canada, le Musée de l'aviation du Canada, le
Musée de l'agriculture du Canada, la division
du patrimoine de la Ville de Toronto et la
Kitchener-Waterloo Art Gallery, entre autres.
Il est un des membres fondateurs des Dufferin
County Museum and Archives, en Ontario, et
a effectué des stages à l'Institut canadien de
conservation et au Musée McCord d'histoire
canadienne. Après avoir terminé la première
année du programme de techniques muséales
du Collège Algonquin, il a intégré le
programme de conservation et de gestion des
collections du Collège Sir Sandford Fleming,
dont il est diplômé depuis 1998.
8
Eastern Regional Councillor
Conseillère régionale de l'est
Michelle Gallinger
Michelle Gallinger
Michelle is a fine arts conservator in private practice. She
received her accreditation from the CAPC in 2008
specializing in paintings. She has degrees from
the University of Regina, including a Bachelor
of Arts, Art History (1990), and a Bachelor of
Fine Arts with Distinction (1994), Printmaking,
and the Master of Art Conservation degree in
paintings from Queen's University (1997). She
completed her internships at the National
Gallery of Canada and the Winnipeg Art
Gallery. Michelle has been in private practice
since 1998 working on a variety of materials,
offering services in the conservation of
paintings, murals, frames, soapstone sculpture
and painted objects. In 2008, along with fellow
conservator Julia Landry, they formed
Gallway Art Consulting. She is on her second
year as the eastern regional councillor.
Mme Gallinger est une restauratrice d'œuvres d'art en
pratique privée. Elle a obtenu son
accréditation de l'ACRP en 2008 avec
spécialisation dans les tableaux. Elle
détient des diplômes de l'Université de
Regina, notamment un baccalauréat en
histoire de l'art (1990) et un baccalauréat
en arts visuels avec distinction en gravure
(1994), ainsi qu'une maîtrise en conservation-restauration de l'Université Queen's
(1997). Elle a effectué des stages au
Musée des beaux-arts du Canada et à la
Winnipeg Art Gallery. Mme Gallinger est
en pratique privée depuis 1998 et travaille
sur une variété de matériaux en offrant
des services de restauration de tableaux,
de murales, de cadres, de sculptures de
pierre à savon et d'objets peints. En 2008,
avec la restauratrice Julia Landry, elle a
fondé Gallway Art Consulting. Elle en est à sa deuxième
année à titre de conseillère régionale de l'est.
CAPC/CAC Liaison
Agente de liaison ACCR-ACRP
Julia Landry
Julia Landry
Julia is beginning her second term as the CAC’s liaison to
the CAPC. She is also the CAPC’s
liaison to the CAC and she feels that
her dual role allows her a unique insight
into the functioning of both organizations. Following her training in the UK,
Julia returned to Canada and has been
in private practice since 1997, specializing in the conservation of paper and
other archival materials. She has a keen
interest in the role of the private conservator in Canada and within the CAC.
For the last three years, Julia has been a
member of the Merger Committee
which has been working on the development of a model for the potential joining
of the CAC and CAPC.
Mme Landry amorce son second mandat à titre d'agente
de liaison de l'ACCR avec l'ACRP. Elle
occupe également le poste d'agente de liaison
de l'ACRP avec l'ACCR et estime que son
double rôle lui permet d'avoir un point de vue
unique sur le fonctionnement des deux
organismes. Après sa formation au RoyaumeUni, Mme Landry est revenue au Canada, où
elle travaille en pratique privée depuis 1997,
en se spécialisant dans la restauration du
papier et des archives. Elle a un intérêt
marqué pour la pratique privée en conservation au Canada et au sein de l'ACCR. Au
cours des trois dernières années, Mme
Landry fait partie du comité de fusion qui
travaille au développement d'un modèle pour
la fusion potentielle de l'ACCR et de l'ACRP.
9
39th Annual CAC Conference
39e Congrès Annuel de l'ACCR
Call for Papers
Appel de présentations
The Canadian Association for Conservation of Cultural
Property will be holding its 39th Annual Conference, 2325 May 2013, in Saint John, New Brunswick. We invite
papers exploring all aspects of conservation, including
theory and treatment, preventive conservation, conservation ethics, and the public interpretation of conservation
practice.
L'Association canadienne pour la conservation et la
restauration des biens culturels tiendra son 39e congrès
annuel du 23 au 25 mai 2013 à Saint John, au NouveauBrunswick.
Nous acceptons volontiers les communications
concernant tous les aspects de la restauration, incluant la
théorie, le traitement, la restauration préventive, l'éthique
et l'interprétation publique du domaine de la restauration.
There are two ways to get involved, by either presenting
a formal paper (20-30 mins) or submitting a poster.
An abstract needs to be submitted for both options and
should be between 300 and 500 words and must include
the following: the title of the presentation, the names of
all contributors, mailing address, telephone number, fax
number, e-mail of the contact person and the name of the
presenting author.
Please submit abstracts in either French or English by
email attachment (MS Word, double-spaced, 12 point,
Arial font) and indicate "CALL FOR PAPERS - CAC
2013" in the subject line by 11 January 2013 to:
Kendrie Richardson
Program Co-ordinator
[email protected]
A selection committee will review abstracts and notify
speakers as soon as possible. Participation from students,
new members and professionals from allied fields is
highly encouraged.
For more information about the conference including
workshop overviews, tour options and a handy information package check out www.cac-accr.ca/conferences
Il y a deux façons de participer : en proposant une
présentation (20 à 30 minutes) ou en soumettant une
affiche.
Dans les deux cas, un résumé de 300 à 500 mots doit
être soumis et doit comprendre le titre de la présentation,
les noms de tous les collaborateurs, une adresse postale,
un numéro de téléphone, un numéro de télécopieur,
l'adresse électronique de la personne-ressource et le nom
du présentateur.
Vous pouvez faire parvenir vos résumés en français ou
en anglais par courriel (fichier MS Word, double
interligne, 12 points, police Arial) en indiquant " CALL
FOR PAPERS - CAC 2013 " dans la ligne d'objet au plus
tard le 11 janvier 2013 à :
Kendrie Richardson
Coordonnatrice du programme
[email protected]
Un comité de sélection lira les résumés et avertira les
auteurs de son choix dès que possible. La participation
des étudiants, des nouveaux membres et des
professionnels de domaines connexes est fortement
encouragée.
Pour de plus amples renseignements sur le congrès,
incluant un aperçu des ateliers, les visites proposées et
une trousse de renseignements pratiques, consultez le site
de l'ACCR : http://www.cac-accr.ca/fr/conferences.
10
Membership Committee
Comité des adhésions
Erratum -Directory of Members 2012
Erratum -Annuaire des membres 2012
We would like to make the following corrections to
our Directory of members 2012: Jan Hawley and
Patricia Measures were incorrectly listed as being
CAPC members. We apologize for the errors.
Nous aimerions rapporter deux erreurs qui se sont
glissées dans notre Annuaire des membres 2012 : Jan
Hawley et Patricia Measures ont été identifiées par
erreur comme étant membres de l'ACRP. Nous nous
en excusons.
Editors’ Note
The editors of the CAC Bulletin are Charlotte Newton and Janet Wagner. The layout is done by Scott Williams.
The Bulletin is published by the Canadian Association for Conservation of Cultural Property, 207 Bank Street,
Suite 419, Ottawa, ON, Canada K2P 2N2, phone (613) 231-3977, fax (613) 231-4406, http://www.cac-accr.ca.
The deadline for the next Bulletin is December 1, 2012. Send submissions to [email protected].
Responsibility for statements made in the articles and letters printed in the Bulletin rests solely with the contributors. The views expressed by individual authors are not necessarily those of the Editors or of CAC.
Note de la rédaction
Les rédactrices du Bulletin de l’ACCR sont Charlotte Newton et Janet Wagner. Scott Williams assure la mise
en page. Le Bulletin est publié par l’Association canadienne pour la conservation et restauration des biens
culturels, 207, rue Bank, bureau 419, Ottawa, (ON) Canada K2P 2N2, téléphone (613) 231-3977, télécopieur
(613) 231-4406, http//:www.cac-accr.ca. Les textes soumis pour fins de publication dans le prochain Bulletin
doivent nous parvenir avant le 1er décembre 2012. Veuillez envoyer vos articles à
[email protected].
La responsabilité concernant les déclarations faites dans les articles et les lettres imprimés dans le Bulletin
revient exclusivement aux auteurs. Les opinions exprimées par les auteurs ne sont pas nécessairement celles de
la rédaction ou de l’ACCR.
11
CAC Grants & Awards
Committee
Comité des bourses et des
prix de l'ACCR
2012 Grants
Bourses 2012
Eight CAC members received Grants to attend the 2012
Annual Conference and/or Workshop.
Huit membres de l'ACCR ont reçu des bourses pour
assister au congrès annuel et ateliers 2012.
May-Lin Polk
Tracy Satin
Julia Landry
Carolyn Sirett
Krystyna Halliwell
Andrew Todd
Heather Bjeerling
Ida Pohoriljakova
$1200.00
$800.00
$800.00
$600.00
$600.00
$600.00
$500.00
$500.00
Additionally, two Grants to Attend a Conservation
Conference, Seminar or Workshop were awarded to
members for the first time in 2012.
May-Lin Polk
Judith Earnshaw
$100.00
$500.00
May-Lin Polk
Tracy Satin
Julia Landry
Carolyn Sirett
Krystyna Halliwell
Andrew Todd
Heather Bjeerling
Ida Pohoriljakova
1200 $
800 $
800 $
600 $
600 $
600 $
500 $
500 $
Par ailleurs, deux bourses pour assister à un congrès, un
séminaire ou un atelier de restauration ont été attribuées
pour la première fois en 2012.
May-Lin Polk
Judith Earnshaw
100 $
500 $
A single $2500 Training Grant has so far been awarded
in 2012, to Monica Smith, for The Cleaning of Painted
Surfaces, presented by Richard Wolbers at the
Vancouver Art Gallery, March 27 - 29, 2012. Members
are reminded that applications for this Grant are accepted throughout the year.
Jusqu'à présent, une seule bourse de formation de 2 500
$ a été remise en 2012. Elle a été accordée à Monica
Smith, pour l'atelier sur le nettoyage des surfaces
peintes présenté par Richard Wolbers à la Vancouver
Art Gallery, du 27 au 29 mars 2012. Nous désirons
rappeler à nos membres que les demandes de bourses de
formation sont acceptées toute l'année.
2013 Grants and Awards
Prix et bourses 2013
Call for nominations:
Appel de mises en candidature :
This award commemorates the distinguished achievements of Charles Mervyn Ruggles (1912 - 2001) in the
development of the art conservation profession in
Canada. As CAC's first honorary member, it is appropriate that our first award for outstanding contribution to the
field carries his name. Recipients of this award are
celebrated for their contributions and achievements in
conservation science, treatment, training and/or education, for their development work in a field of conservation
in Canada, and for promoting the ethics and ideals
expressed in the CAC/CAPC Code of Ethics and
Guidance for Practice.
Ce prix est consacré à la mémoire de Charles Mervyn
Ruggles (1912-2001) qui s'est distingué comme pionnier
dans la profession de restaurateur d'œuvres d'art au
Canada. Comme M. Ruggles a été le premier membre
honoraire de l'ACCR, il convient que le premier prix pour
réalisation exceptionnelle dans le domaine porte son nom.
Les lauréats du prix verront célébrer leur contribution et
leur réussite dans la science, le traitement, la formation
ou l'apprentissage en matière de restauration ainsi que les
efforts qu'ils ont consacrés au développement du
domaine de la restauration au Canada et à la promotion
des principes et des idéaux exprimés dans le Code de
déontologie et guide du praticien de l'ACCR et de
l'ACRP.
12
Call for nominations:
Emerging Conservator Award
Appel de mises en candidature :
Prix du restaurateur émergent
This award recognizes the dedication and outstanding
potential of a future conservator in a Canadian conservation training program. Recipients of this award are
celebrated for their accomplishments and leadership
demonstrated during full time studies leading to a degree
or diploma in any area of cultural property conservation.
Ce prix récompense le dévouement et le vaste potentiel
d'un futur restaurateur inscrit à un programme canadien
de formation en restauration. Les lauréats de ce prix
seront récompensés pour leurs réussites et leur leadership durant leurs études à temps plein qui mènent à un
diplôme ou à un certificat dans un des domaines de la
conservation-restauration des biens culturels.
Recipients of the 2013 Charles Mervyn Ruggles Award
and Emerging Conservator Award will be announced at
the CAC Annual Conference. Details and nomination
forms are available on the CAC website, or hard copies
may be requested from the CAC office. Questions
relating to CAC Awards should be directed to Tracy
Satin at [email protected] or call (250) 7632417 ext. 26.
Call for Grant Applications
In 2013, thirteen individual Professional Development
Grants will be offered to the membership. This includes
$5,500 for up to eight CAC Conference/Workshop
Grants to cover transportation and accommodation
expenses, $2,500 for up to five Grants to Attend a
Conservation Conference, Workshop or Seminar, to
support travel, accommodations, and registration costs of
individual professional development opportunities.
Additionally, one Training Activity Grant worth
$2,500.00 will be offered to assist members in hosting
conservation workshops.
Deadlines for the Conference Grants will be January 31
and for the Grants to Attend a Conference, Workshop or
Seminar, January 31 and July 31. Up to three of these
$500 grants will be offered in the first half of the year,
and the remaining will be offered in the second half.
Please email Kasey Lee at [email protected] ,
or call (250) 387-5518 with questions related to CAC
Grants.
Kasey Lee
Chair, Grants and Awards Committee
Les noms des lauréats du prix Charles Mervyn Ruggles et
du prix du restaurateur émergent 2013 seront annoncés
lors du congrès annuel de l'ACCR. Pour de plus amples
renseignements ou pour télécharger un formulaire de mise
en nomination, veuillez consulter le site de l'ACCR. Pour
obtenir un formulaire imprimé, veuillez vous adresser au
bureau de l'ACCR. Pour toute question relative aux prix et
bourses de l'ACCR, communiquez avec Tracy Satin :
[email protected] ou (250) 763-2417, poste 26.
Appel aux demandes de bourses
En 2013, treize bourses de perfectionnement
professionnel seront offertes à nos membres. Cela
comprend un total de 5 500 $ pour un maximum de huit
bourses pour assister au congrès annuel de
l'ACCR afin de couvrir les frais de transport et
d'hébergement, un total de 2 500 $ pour un maximum de
cinq bourses pour assister à un congrès, atelier ou
séminaire de restauration afin de couvrir les frais de
transport, d'hébergement et d'inscription. De plus, une
bourse de formation d'une valeur de 2 500 $ sera
offerte pour aider nos membres à présenter des ateliers
de restauration.
La date limite pour demander une bourse pour assister au
congrès annuel est fixée au 31 janvier et les dates limites
pour demander une bourse pour assister à un congrès, un
atelier ou un séminaire sont le 31 janvier et le 31 juillet.
Jusqu'à trois de ces bourses de 500 $ seront offertes en
première moitié d'année et le reste sera offert durant la
seconde moitié de l'année.
N'hésitez pas à communiquer avec Kasey Lee
([email protected] ou 250 387-5518) si vous
avez des questions à propos des bourses de l'ACCR.
Kasey Lee
Présidente, Comité des bourses et des prix de l'ACCR
13
Gayle McIntyre
Gayle McIntyre
Recipients of this award will be celebrated for their
contribution and achievement in conservation science,
treatment, training and/or education, for their development
work in a field of conservation in Canada, and for promoting the ethics and ideals expressed in the CAC/ACCR
Code of Ethics and Guidance for Practice.
Les lauréats du prix voient célébrer leur contribution et
leur réussite dans la science, le traitement, la formation
ou l'apprentissage en matière de restauration, ainsi que
les efforts qu'ils ont consacrés au développement du
domaine de la restauration au Canada et à la promotion
des principes et des idéaux exprimés dans le Code de
déontologie et guide du praticien de l'ACCR et de
l'ACRP.
Gayle McIntyre has had a long and illustrious career in
conservation. Many of us have known Gayle as students
and have gone on to know her as a mentor, colleague, coauthor and friend.
Gayle herself is a graduate of the Art Conservation
Techniques Program, Fleming College. She started her
career off as the Site Conservator for Lang Pioneer
Village and then went on to be an instructor at Fleming. In
1996 she took over the role of Program Coordinator for
the College's Collections Conservation and Management,
Museum Management and Curatorship and the Aboriginal
14
Gayle McIntyre a mené une longue et brillante carrière
dans le secteur de la conservation. Nous sommes
nombreux à l'avoir connue comme enseignante, puis
ensuite comme mentor, collègue, co-auteure et amie.
Après l'obtention de son diplôme en techniques de
conservation des œuvres d'art au Collège Fleming, Mme
McIntyre a amorcé sa carrière comme conservatrice du
site de Lang Pioneer Village, pour ensuite retourner à
Fleming, cette fois comme enseignante. En 1996, elle
Heritage Interpretation (offered as a one time delivery)
Arts and Heritage Programs, a position she still holds
now. Gayle ensures that students are fully equipped to
enter the conservation field from the only college level
conservation training program in Canada that focuses on
heritage conservation.
Gayle has many areas of expertise, these include: the
preservation of mixed collections, preventive conservation applications, reducing risks to collections, disaster
preparedness, the preservation of culturally sensitive
materials and advocating for arts, culture and heritage
related projects. One area where Gayle has separated
herself is her work with Aboriginal communities and their
collections. Gayle has been instrumental in training First
Nations peoples to care for their cultural heritage in their
own communities.
Gayle is an active member in the Canadian conservation
profession and serves on a variety of committees including the Archives Association of Ontario: Preservation
Committee; the Museum and Archives Advisory Committee for the Peterborough Museum & Archives; ad hoc
committees for the CAC and the Ontario Museum
Association; and assorted conference and workshop
committees.
Gayle also participates in national and international
conferences and training programs, both as a participant
and as a presenter.
Currently, Gayle represents the Arts and Heritage
Programs through various community-based and applied
projects, partnerships, heritage conservation initiatives
and volunteer work. She does this all with a view towards a good work-life balance (and self care).
assumait le rôle de coordonnatrice des programmes de
Conservation et de gestion des collections du Collège, de
Gestion et de muséographie, d'Interprétation du
patrimoine autochtone (offert une seule fois), ainsi que du
programme Art et patrimoine, dont elle est toujours
responsable. Elle veille scrupuleusement à ce que le
programme qu'elle dirige - le seul programme de niveau
collégial au Canada axé sur la conservation du patrimoine
- prépare adéquatement les élèves à faire carrière dans
la conservation.
Les compétences de Gayle couvrent de nombreux
domaines notamment : la préservation de collections
mixtes, les applications de conservation préventive, la
réduction des risques pour les collections, la prévention
des désastres, la préservation des artéfacts à valeur
culturelle ainsi que les projets reliés à la défense et à la
promotion des arts, de la culture et du patrimoine. Gayle
s'est particulièrement démarquée par son travail auprès
des collectivités autochtones en ce qui a trait à leurs
collections. C'est un peu grâce à elle que les membres
des Premières Nations ont appris à protéger leur
patrimoine culturel à l'intérieur de leurs communautés.
Mme McIntyre joue un rôle actif au sein du milieu
canadien de la conservation et est membre de divers
comités incluant l'Association des archives de l'Ontario,
le comité de préservation et le comité consultatif du
Musée et des Archives de Peterborough, les comités ad
hoc de l'ACCR et de l'Associations des musées de
l'Ontario ainsi que divers comités reliés aux congrès et
aux ateliers.
Gayle McIntyre prend également part à des congrès et à
des programmes de formation nationaux et
internationaux, tant à titre de conférencière que de
participante.
Gayle assure actuellement la promotion de programmes
axés sur les arts et le patrimoine au moyen de projets
communautaires, de partenariats, d'initiatives de conservation du patrimoine et de bénévolat, tout en veillant au
maintien d'un bon équilibre travail-vie privée.
15
Emerging Conservator
2012 Award
Prix du restaurateur
émergent 2012
Carolyn Sirett
Carolyn Sirett
This award is given in recognition of outstanding effort
and accomplishment during the course of full time
studies in a Canadian conservation training program, as
demonstrated by academic performance, contribution to
the field of conservation, leadership, and promotion of the ethics
and ideals expressed in the CAC/
CAPC Code of Ethics and
Guidance for Practice.
Ce prix récompense le dévouement et le vaste potentiel
d'un futur restaurateur inscrit à un programme canadien
de formation en conservation-restauration. Les lauréats
de ce prix sont récompensés pour leur réussite
académique, leur contribution au
domaine de la conservationrestauration tout en souscrivant
aux principes et idéaux tels
qu'exprimés dans le Code de
déontologie et Guide du
praticien de l'ACCR/ACRP, ainsi
que pour leur leadership durant
leurs études à temps plein.
Carolyn Sirett is currently the
Assistant Curator at the Transcona
Historical Museum in Winnipeg,
Manitoba. After graduating from
the University of Manitoba, in 2008
with an Advanced Bachelor of
Arts in Anthropology, Carolyn's
passion for the preservation of arts
and heritage furthered her ambition
to pursue education in heritage
studies. She took courses in
Cultural Resource Management
from the University of Victoria and
in the fall of 2010, she was accepted into the Collections Conservation and Management Program
at Fleming College in
Peterborough, Ontario where she
graduated with a diploma specializing in Conservation.
Carolyn has completed volunteer work for the Manitoba
Museum and Peterborough Museum & Archives as a
Conservation/ Collections Assistant where she was
involved in preventative conservation, exhibit installation,
and photography. In addition, she has also completed an
internship at the Parks Canada Agency, Western and
Northern Services Centre, and later worked on contract
as a Conservator for Parks Canada in the Inorganics and
Composite Materials Laboratory.
16
Carolyn Sirett est actuellement
conservatrice adjointe au
Transcona Historical Museum, à
Winnipeg. Après l'obtention d'un
baccalauréat spécialisé en
anthropologie à l'Université du
Manitoba en 2008, la passion de
Carolyn pour la préservation des
biens culturels et patrimoniaux
poussa celle-ci à poursuivre des
études dans ce domaine. Elle suivit
des cours en gestion des
ressources culturelles à
l'Université de Victoria et, à
l'automne 2010, fut acceptée au programme de Conservation et de Gestion des collections au collège Fleming de
Peterborough, qui lui a obtenu un diplôme spécialisé en
conservation.
Carolyn a accompli un stage comme bénévole au Musée
du Manitoba ainsi qu'au Peterborough Museum and
Archives à titre d'adjointe, où elle s'est occupé de conservation préventive, d'installation d'expositions ainsi que de
photographie. Elle a de plus effectué un stage au Centre
de service de l'Ouest de l'Agence Parcs Canada puis a
travaillé comme conservatrice contractuelle au
Laboratoire des Produits inorganiques et des Matériaux
composites, toujours à Parcs Canada.
Across the Country - Dans tout le pays
Western Region - Région de l’Ouest
Manitoba
The Manitoba Museum
This summer we hosted two students. Megan Narvey,
who is studying chemistry at a small U.S. college, was
with us for five weeks and completed several small
projects, both hands-on (making storage boxes and padded
hangers, assisting with packing and pickup of a new
donation) and research (iron-on patches, anoxic storage,
analytical services available in Winnipeg). Megan is
interested in pursuing conservation science. We also had a
Young Canada Works student for the summer, Adam
Prosk, who performed various tasks such as updating our
gallery photos, upgrading storage of pharmaceutical
artefacts by making new boxes, conducting inventory
checks in storage, data entry of backlog condition reports,
and assisting with gallery maintenance and inventory.
Lisa May was heavily involved in mountmaking and
installation of a new permanent exhibit, Minerals from the
Canadian Shield. It looks great but was a lot of work.
We are continuing to make progress in populating our
collections database program, working to eliminate
backlogs of condition and treatment reports, which built
up during a period when the Conservation module was
not functioning properly. Lisa May developed a "Tips"
sheet outlining the steps for data entry in Conservation,
which is helpful for all staff or volunteers who could be
entering this data.
Kathy Nanowin has been working to standardize and
streamline ongoing gallery maintenance and inventory
work. Several new tasks have been combined, so that
everything in collections management and conservation
that is associated with a specific exhibit or case gets
done at the same time, and we can say that all data
related to that case is complete, updated and accurate. It
means slower progress than in the past, but the change is
necessary to ensure smooth working and no surprises
during anticipated gallery changes in the next few years.
1940s-50s. Many photographs and textual records were
water damaged and required separation, stabilization and
flattening. Mary Hocaliuk removed loose mould spores
from several photo albums and over two hundred glass
plate negatives.
Storage improvements also continue. A changeover in
environmental control systems following an expansion at
our Government Records Centre is now 7 months behind
schedule. Replacement of five AC units and related
renovations in the downtown building will affect 4 vaults
housing about 65% of the holdings onsite. The work will
be done in 5 sequential phases, each requiring temporary
relocation of records, and is expected to begin next
summer. Many re-housing/re-location assessments and
upgrade projects are occurring in preparation for this
work. Ala Rekrut has been the main Archives contact
and is heavily involved in the project development.
The Archives increased our nitrate film holdings from 1 to
47 when 46 reels of cellulose nitrate film were transferred
from British Film Institute to re-join the Hudson's Bay
Company Archives collection. These show scenes from
Canada's north and were produced primarily for the
HBC's 250th anniversary celebrations in 1920. Screenings
of selections from this footage drew hundreds of people to
the Archives and brought significant media coverage. The
BFI also provided analog preservation copies and digital
transfers of these films, so all we had to do was to rehouse the nitrate and move it into our cold storage vault.
Archives of Manitoba conservators also assisted the
Legislative Library when a small water leak related to
the building HVAC system occurred above their newspaper storage room.
To support her new responsibilities in moving images and
sound preservation, Mary returned to the Provincial
Archives of Alberta for five days where she learned about
digitizing analog records, bulk storage and the use of the
SammaSolo and AJA systems. Our thanks to Terry
O'Riordan and Alison Freake for hosting and sharing!
Archives of Manitoba
Saskatchewan
Numerous preservation activities are currently underway.
Conservators have assessed and prepared 23,000 pages
of records for digitization. Shelagh Linklater worked on
the records of Bill Judza, an NHL hockey player in the
The Western Development Museum is conducting an
assessment of its village in North Battleford: going
through the museum building by building to see what state
it is in and noting what work needs to be done. The
17
museum will then determine what the future of the outdoor
village will be. Conservator Mark Anderson has also been
removing damaged artifacts and/or artifacts that are in the
buildings but are not on visible display. These are photographed cleaned before being put into storage. The majority
of the items that have been removed are textiles.
Alyssa Becker-Burns is working with Brenda Smith
(MacKenzie Art Gallery) on objects from a 1909 time
capsule recently recovered from the cornerstone of the
Saskatchewan Legislature. The contents of the time
capsule were showcased during the Royal visit in May, and
will be on public display at the Legislature later this year to
commemorate the 100th anniversary of the completion of
the building. They include many documents, newspapers, a
constituency map, coins, paper currency, a Union Jack flag,
blueprints of the building, photos and a bible. Everything
was in good condition, with the exception of some of the
larger items being severely creased.
In Royal Saskatchewan Museum staff news, noteworthy
changes include the retirement of Paula Hill as Manager
of Public Programs after 23 years of service, and the
arrivals of Sarah Schafer as Supervisor of Public Programs and Dr. Cory Scheffield as Curator of Invertebrate Zoology.
Alberta
Elizabeth Richards most recent projects have been the
cleaning and remounting of three hooked rugs. The first
rug was made in Quebec about 1950 and was a typical
horse and sled scene in winter. The fabrics used in the
hooking were almost all t-shirt and underwear fabrics.
The white t-shirts in the snow had discoloured (permanently) to a creamy colour. The rug was extremely heavy
because of the weight of the t-shirt fabrics and the lengths
of the unravelled pile on the back of the rugs.
The other two rugs were from the Grenfell Mission (Labrador) circa 1910. The pile was made of rayon and silk
stockings and so carefully rolled in the pile that there were
almost no raw edges on the front or the back of the rugs.
The width of the pile was 2 to 3 mm. One rug with a
hunter, dog and log cabin scene was vacuumed and remounted. The second rug (1 m by 70 cm) of a polar bear
on an ice flow is faded and discoloured from hanging in a
room for decades where people smoked. The cleaning and
remounting of this rug will be one of my fall projects. The
pile is very brittle from degradation of the pile fabrics.
At the Glenbow, in the paintings and sculpture lab,
Priyanka Vaid treated a work by famous cowboy artist
18
Charlie Russell for the special Russell exhibition organized by Glenbow to commemorate the 100th anniversary of the Calgary Stampede. The gilded compo frame
of the painting received major work in terms of repair of
compo and re-gilding the repaired areas. Currently she is
working on an oversized painting by the artist William
Bradford. The treatment involves removal of old
discoloured varnish and retouching/overpaint. The
painting will eventually be going to CCI for removal of
present lining and re-lining. She has also been busy in
preparing basic conservation surveys of the paintings by
artist Carl Rungius as a part of storage upgrade project.
In the objects lab, Heather Dumka completed the lengthy
treatment of a badly damaged Inuit drum. The torn
membrane head was cleaned of old adhesive and lining
residues, and re-lined with Hollytex and Beva. As part of
a plastics survey, she examined the doll collection which
had a number of examples of PVC dolls with migrating
plasticizers as well as some deteriorating cellulose nitrate
and acetate dolls. She also worked on a number of
South American spears and bows, upgrading the storage
mounts while carrying out minor treatments.
In the paper lab, Lee Oldford Churchill has been hosting
Queen's intern Jayme Vallieres. Jayme has worked on
books, pamphlets, and sheet material from the Library
and Archives and six maps of Vimy, France from the
Military History collection. Lee has been working on
unrolling Sybil Andrews' drawings as an ongoing storage
project, mending a soap wrapper from Cultural History,
removing artists' Christmas cards from albums for the
Archives, and hinging works for the fall season. Lee is
also preparing for maternity leave starting in October by
clearing out ongoing treatments.
May-Lin Polk has a new job as the Museum Advisor at
the Museums Association of Saskatchewan (MAS) in
Regina. Her new contact information can be found on
the MAS website. She is filling a position that has been
vacant for 5 years, so there will be lots of work to
accomplish and lots to catch up on.
She also attended the CAC workshop and conference
this year and presented a paper there, "Ills of Pharmaceutical Collections". Prior to that, she was working at
the Ukrainian Cultural Heritage Village with Maja
Buchkowsky, the conservator there, for springtime site
set-up and also volunteering with Margot Brunn, at the
Royal Alberta Museum but had to leave because of
moving... she is looking forward to participating in the
Saskatchewan group!
Juliet Graham was able to spend a day working at the
Galt Museum and Archives on a paper conservation
project. The work showed up on the museum blog
(www.galtmuseum.blogspot.ca ) later that day. An
unusual feature of the framing, from a conservator's
perspective, is seen in the photo that shows the wide
piece of tape being lifted off the verso of the artwork
that held it in the mat along all four sides. The tape had
the repeated words written in large, red letters, "DANGEROUS VOLTAGE".
Juliet has also been working with a co-op student,
Graham Ruttan, on a project inventorying a large gift to
the University of Lethbridge. The gift includes a quarter
section of land, its original homestead and restored
outbuildings, extensive gardens with a herbarium record,
a map collection, a photograph collection and more than
200 items from his personal art collection.
Lisa Isley, Lee Churchill and the Canadian Book Binders
and Book Artists Guild - Calgary Chapter have been
organizing the Art of the Book Exhibition and Conference in Calgary for July 11-13, 2013. Organized in
honour of CBBAG's 30th Anniversary this exciting
opportunity is bringing together presenters from Canada,
the US, Britain and France. Talks will be of interest to
bookbinders, librarians and conservators!
Of particular interest to conservators, we are pleased to
confirm that, among others, Sün Evrard and Julia Miller
will be presenting at the conference.
Sün Evrard, our keynote speaker, will be discussing book
conservation and design with the aim of initiating a
dialogue about the controversial practice of creating
modern bindings on antiquarian books. Born in Hungry
and trained in France, her interest in book-friendly
structures led to her specialty of creating modern bindings on antiquarian books. She is a member of the
"Tomorrow's Past" group and each year exhibits with her
colleagues work under the name Les Pages bien
gardées at the Salon du Livre Ancien in Paris. http://
sun.evrard.pagesperso-orange.fr/
Julia Miller is a bench-trained conservator in private
practice, who studies and writes about historical binding
structures. Her recent project has been writing Books
Will Speak Plain: A Handbook for Identifying and
Describing Historical Bindings, published by the
Legacy Press in 2010. Julia's presentation covers the
early history of the codex, with an emphasis on the
Coptic structures of the first millennium, research on the
Nag Hammadi codices, the general importance of
identifying and describing historical bindings of all types,
and a case study applying that thinking to a particular
group of books, American scaleboard bindings.
We are also offering several 5 day workshops!
As examples:
Julia Miller - July 15 to 19 - University of Calgary
A Coptic Combination Workshop
During our week-long workshop we create two historical
models of Coptic bindings dating from the fifth and sixth
century: a full-size model of Morgan Ms G.67, known as
the Glazier Codex (late fifth/early sixth century) and a
full-size model of Chester Beatty Ms. 815, known as
Codex C. The combination allows us to discuss the
common features of the two bindings, and how they
differ; we extend our study, as well, to earlier Coptic
bindings (Nag Hammadi Codices) and late-Coptic
materials (Edfu, Hamouli, Bodmer bindings, etc.).
Sun Evrard - July 6 to 10 and July 15 to 19 - University
of Calgary.
Binding in Stone Veneer
Stone veneer is the result of an interesting development
in laser cutting. Imitations of stone have been on the
market made of stone powder mixed with an adhesive
and colored to look like real stone. However, the veneer
product demonstrated in this workshop is manufactured
by a Finnish-German company and distributed by an
Italian firm is a .2 mm thick slice of stone mounted on a
thin fabric. I have not seen how exactly it is made but I
was told that the surface was first coated, than the stone
sheet laser cut and vaporised with a thin layer of adhesive during the cut. The result is a sheet of real stone one
can fold, imprint, tool and cut with a simple cutter.
Two structures using stone veneer will be made during
the workshop: one on a single section and another on
multisection book.
For more information as it becomes available please
check the CBBAG website: http://www.cbbag.ca
Looking forward to seeing you there!
Lisa Isley and Lee Churchill
David Daley has been busy with the prolonged preparation and move of the numerous collections in Arts and
Culture at the University of Calgary. Two large and
heavy whalebone sculptures were successfully moved
into the new campus library building and all furniture of
the special collections have safely been relocated. Other
recent activities include policy work, exhibition of selec19
tions from the rare books collection including The Gibson
Speculative Fiction collection, the Morley cartoon
collection and the Lucy Maud Montgomery collection
which includes a rare first edition of Anne of Green
Gables. Rare editions from the Hugh Anson Cartwright
collection of early Canadian pulp fiction literature were
also popular as they showed scarce early series numbers
from Harlequin books of Winnipeg, Canada. This selection was displayed for the attendees of the When Worlds
Collide Calgary literary festival.
British Columbia
Andrew Todd Conservators Ltd.
Andrew Todd Conservators Ltd. has carried out a
conservation assessment project for the St. Roch,
National Historic Site at the Vancouver Maritime Museum. New treatment project preparations are underway
for sculptures in the outdoor environment.
Andrew Todd
Fine Art Conservation
At Fine Art Conservation, Rebecca Pavitt has been
putting her new Wolbers skills to work, cleaning several
of Oscar Cahen's water sensitive illustrations and fine art
works on paper for display at a colloquium organized and
hosted by the Cahen Archives in Vancouver during the
week of July 22nd. The colloquium centered on Tom
Smart's draft manuscript of a critical biography on the
life and works of Oscar Cahen with scholars from New
York, Calgary and British Columbia on hand to debate
Cahen's work and place in Canada's cultural history.
Rebecca and Cheryle Harrison of Conserv-arte were on
hand to talk about the special conservation challenges
Oscar's work presents, and how his materials and
techniques affect treatment choices.
Fraser Spafford Ricci Art & Archival
Conservation Inc.
It has been the summer of historic Canadian art; FSR
conservators have carefully conserved paintings by Emily
Carr, Lawren Harris, AJ Casson, Fred Varley and JEH
MacDonald. In the area of more recent paintings, the lab
has been fortunate to conserve several paintings by Roy
Kiyooka, held by his daughter Jan and a private gallery in
Vancouver. The lab has cleaned an endearing and
intricate painting by William Kurelek, early abstract
paintings by Gordon Smith, challenging mixed media
paintings by BC Binning and we executed a careful
20
cleaning and tear repair on a late painting by EJ Hughes.
The paintings conservators have recovered paintings and
works on paper in a large fire in a private collection in
Whitehorse, Yukon, and a group of paintings involved in a
fire in West Vancouver.
In early summer, Sarah travelled to the Kenderdine
Gallery in Saskatoon to examine and pack an enormous
painting on canvas measuring 7' x 27'. Sarah appreciates
the skilled assistance of Brenda Smith of the MacKenzie
Art Gallery with this project. The 1935 painting of
historic Broadway Bridge by the gallery's namesake, Gus
Kenderdine, requires fairly extensive treatment before it
is re-stretched and placed behind a protective barrier at
the University of Saskatchewan.
FSR welcomes Emilie Van der Hoorn, originally from
Calgary but educated in paper conservation at
Northumbria University in Newcastle, UK. She is currently working on a part-time basis in treatment of a
variety of documents on paper, parchment, vellum, and fine
art on paper works. The most interesting treatment thus
far was the washing, stain removal and repair of a lovely
charcoal portrait by Suzor Cote, a much treasured gift
from the artist to the owner. She also conserved very early
Chinese technical drawings of military armour - cleaned,
repaired, relaxed and pressed, matted and stored within a
custom-made coroplast archival storage box. Emilie's
talents have been a welcome addition to the FSR lab.
Emily Min and Sarah Spafford-Ricci attended the
Wolbers Cleaning of Painted Surfaces workshop at the
Vancouver Art Gallery. The workshop was both educational and inspiring; Sarah had organized a workshop in
the early 1990's and can report that his information and
recipes have evolved tremendously and now include
mixtures for varnish and accretion removal that are lowsolvent or contain no solvent. The new information is a
testament to Richard's ongoing quest for better solutions
for the cleaning of paintings (and other materials), and
the participants were deeply appreciative of the information. FSR has now gathered all the new materials
presented, and is utilizing many of them to tackle those
paintings and objects that have overstayed their time in
the lab because they were a "difficult clean". A silicone
gel/solvent mixture is being used to separate ink that is
overlaying an original ink signature of Babe Ruth on a
leather-covered baseball. An early Vancouver portrait,
extremely damaged by dirt and accretions was effectively cleaned using the new Pemulen gel with a very
small amount of organic solvent.
This summer, we welcomed Jennifer Morton to the FSR
lab as a Queen's University paintings conservation intern.
Her great attitude, energy and enthusiasm have been
much appreciated by the FSR staff. Under the tutelage
of lab paintings conservators, she has had the opportunity
to work on a dozen paintings conservation projects thus
far, covering the extent of common procedures in
paintings conservation. Christine Foster also worked with
Jennifer on the use of the Modular Cleaning System and
Emily Min on the use of new Wolbers cleaning materials.
Christine Foster had a baby girl, Carys, born July 5th joining
her now two year old brother Devan in the active Foster
household. Christine is now on maternity leave until summer
of 2013. Sarah is very happy to announce that Jennifer
Morton will be filling in during this period, and we welcome
Jennifer to our team as Conservator of Paintings.
Sarah Spafford Ricci, Principal Conservator of Fine Art
Royal British Columbia Museum
Jack Lohman has settled in as the new CEO of the Royal
BC Museum and is fixing attention on a major site renewal
in the next five years. Chief Conservator Kasey Lee and
Paper Conservator Betty are lending their expertise to the
proposed "Collections and Learning Centre". Robert
Davidson continues to work on his "really cool project".
Although we aspire to a purpose built cold storage venue
for vulnerable AV materials, collections should start
moving into cool storage, and by early next year, into
frozen storage in a temporarily contracted facility. George
Field has been taking advantage of the good weather,
working outdoors overseeing the conservation/restoration
of the double-hung windows on historic Helmken House more than half of the windows are now operable. In
adjacent Thunderbird Park, he is busy with maintenance
and cosmetic work on a number of totem poles. Fresh
from three weeks in Jordan holidaying as site conservator
at Humayma, a dig coordinated by the Classics Department of Queen's University, Lisa Bengston is working on a
metre-tall Chinese paper lantern. The plan is to video-tape
this time-consuming and complicated treatment, for
inclusion on the RBCM web-site. Plans to build a replica
for permanent display are also underway. Jana Stefan is
about to return to Antarctica for six months, working for
the New Zealand Heritage Trust. She will be one of four
conservators living in tents, basking in the -5C highs,
treating artifacts from Scott's 1910 expedition. Kjerstin
Mackie has recently participated in two workshops
organized by the Sechelt Museum in conjunction with First
Nations artists. She made a beautiful Salish-style blanket,
and with Kate Blair, our intern from the Textile Conservation Course at Glasgow University, spent two days
harvesting, processing and weaving Western Red Cedar
bark. In addition to her role as conservation-step-andCAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre
fetch-it, Kate has been analyzing and describing a collection of "mud silks" worn by Chinese labourers. This
summer we have been delighted to have had volunteer
Wendy Porter clear up some of our bureaucratic backlog.
The Textile Conservation wash table has been doing
volunteer duty for The Land Conservancy; Colleen Wilson
has been supervising TLC staff cleaning large textiles that
were smoke-damaged in the 2010 fire at Craigflower
Manor. Thanks to Sabina Sutherland, who was contracted
to maintain exhibits at the RBCM satellite gallery at Wing
Sang, in Vancouver's Chinatown district.
Kasey Lee, Conservation Services Manager
Vancouver Art Gallery
After 4 year as Conservation Assistant, Kathy Bond has
accepted a position of Assistant Conservator of Contemporary Art at the National Gallery of Canada. Although
this is a huge loss for the VAG it is a tremendous opportunity for Kathy to expand her interests and skills in
contemporary art. Kathy has been a calm, steady force
in conservation and has played a huge role in running our
conservation program including participation with acquisitions, loans and exhibitions. Although we are sad to see
Kathy go, we wish her well in her new position where
she will begin on September 17, 2012.
This year has been extremely busy for VAG Conservators, Monica Smith and Kathy Bond. We began the year
by hosting Natalie Stone from January to April, a second
year intern from the Collections Conservation and
Management Program at Fleming College in
Peterborough. Among other projects in conservation,
Natalie assisted in preparing numerous paintings for an in
house VAG exhibit on Canadian paintings from the 60s,
and updating our procedure manual and condition reports
for our outdoor art works. This summer we are fortunate
to have Amber McBride as our Young Canada Works
summer student. Amber comes to us with a BA in
History from UBC and will be continuing her studies in
the fall obtaining a certificate in Collections Management
at the University of Victoria. Amber is working on the
permanent collection, splitting half time with Conservation on storage upgrades, and half time with Registration
on documentation projects.
At the end of March, the VAG was very fortunate to
host Richard Wolbers who presented a three day workshop on the Cleaning of Fine Art Surfaces. Ten conservators from the lower mainland area were thrilled to
learn Wolbers new cleaning materials and procedures.
The workshop covered aqueous surface cleaning methods with explanation of buffers, ionic strength, chelators,
21
surfactants, pH and conductivity. He discussed tailoring
aqueous cleaning systems specifically to the surface's pH
and conductivity whilst reducing the use of toxic solvents
within the conservation lab. He related new information
on the swelling of acrylic paints with aqueous solutions
that can lead to permanent changes; Richard taught
participants how to tailor the pH and conductivity of a
solution to the conductivity of an acrylic surface to
minimize swelling of an acrylic paint surface that occurs in
low conductivity solutions (e.g. pure water) which can
cause irreversible changes to the paint. Wolbers also
included mention of the materials and techniques in the
cleaning of paper and objects. He introduced new gelling
agents (Xanthan Gum and Agarose), and the polyacrylic
acids (e.g. Pemulen TR-2) which can used effectively
within emulsions without the need of the problematic
surfactants in previous formulas. A silicone gel, Velvesil
Plus, and a silicone solvent were demonstrated for use as
a neutral carrier for a small amount of solvent, or as a
masking agent in complex cleaning procedures. The
workshop was generously supported by a training grant
from the CAC, and we are appreciative to Nadine Power
for her assistance in organizing the event.
On June 1st, we hosted the 62nd meeting of the Pacific
Regional Group of Conservators. Approximately 30 local
conservators and other museum professionals met informally at the VAG to hear the following presentations:
Kathy Bond: Modern Art Meets Ethnography - Brian
Jungen and The Men of My Family
Rebecca Pavitt: Methods of Treating Iron Impurities in
Paper
Nadine Power: Theatres of the World: The Conservation
of Two Murals at Simon Fraser University
Kjerstin Mackie: Salish Weaving Techniques: A Workshop Sponsored by Museum of the Sunshine Coast
Monica Smith: Money Laundering: Conservation Skills
Aid in Recovering Lost Bills
Mary-Lou Florian: Conidia, Ascospores, Ascocarps and
Ethyl Alcohol
Sue Bigelow: Greetings from a Parallel World: an
Analogue Conservator goes Digital
Susan Sirovyak: Inventory and Invention: The Registration of Artist Installations
Our highlight for the summer is undoubtedly the cleaning
and recoating of the outdoor word sculpture of Lawrence
Weiner located on the architrave of the exterior of
Vancouver Art Gallery. This sculpture, made of 35" high,
yellow cedar letters stating PLACED UPON THE HORIZON (CASTING SHADOWS) is only accessible with the
aid of 50 foot high scaffolding. Kathy Bond has carried out
this project together with VAG preparation staff.
Monica is looking forward to a trip to Kassel, Germany in
September to act as courier for seven Emily Carr
paintings that have been on exhibit at Documenta (13)
in Kassel Germany.
University of British Columbia
Miriam Clavir's new conservation-based mystery novel is
coming out in October from Bayeux Arts. Insinuendo:
Murder in the Museum has a conservator as its heroine
and is set in Vancouver. It will be available in print or as
an e-book from your favourite bookstore, or from your
library if you ask.
Miriam Clavier, Conservator Emerita at Museum Of
Anthropology
Yukon
Things have been busy in the Yukon Government Museums Program this summer. Conservator Val Monahan
and heritage contractor Cathy Grasholme finished
22
installing Yukon ice patch artefacts and specimens for the
Secrets of the Ice exhibit which opened at the Kwanlin
Dun First Nations Cultural Centre on National Aboriginal
Day. The exhibit will be up until March, 2013.
Researchers who came to Whitehorse for the Frozen
Pasts III conference June 3-8, got a sneak peek at
Secrets of the Ice and a behind the scenes tour of the
Yukon ice patch collection. Conservation highlights from
the conference included Johanna Klügl's presentation on
the conservation of a 5000 year old birch bark quiver
from a Swiss glacier, Elizabeth Peacock's talk on plans to
do an ice patch replication study to better understand
how freezing impacts archaeological wood and Kate
Helwig's presentation on the spruce resin hafting adhesives identified from ancient hunting projectiles from
Yukon and the NWT. Keynote speaker, Albert Zinc (the
Institute for Mummies and the Iceman) gave a fascinating review of recent findings about Ötzi, the Ice Man.
In June, Val Monahan travelled to Keno City, Yukon to
give advice and training to the staff of the Keno City
Mining Museum. The KCMM has received funding from
the Yukon Museum Program to improve conditions for
their large industrial collection. By teaching techniques set
out in George Prytulak's CCI Notes Outdoor Storage
and Display: Basic Principles and Outdoor Storage
and Display: Remedial Measures Introduction, Val
soon had the team (Joe Volf, Paul Findley and Evan
Rensch) assessing needs for a dozen machines. Over the
summer, artefacts were cleaned of debris, given better
supports, drained as necessary and blocked against water.
During cleaning, several machines were identified and
their relationship with other machines/components clarified. Plans are in the works to move more machines under
shelter and the drainage in an existing shelter was seen to
be inadequate and improved. During a follow-up visit, Val
documented recent improvements for the KCMM's large
Bay City Shovel. George Prytulak (CCI) assessed the
power shovel during a site visit to Keno City in 2009 and
many of his recommendations have now been achieved.
In July, Cathy Ritchie (Collections Management Advisor)
and Val Monahan presented Mount-making 101 a two
day, hands-on workshop as part of Yukon College's
Heritage Certificate Program summer field school. The
workshop was opened to Yukon Government Museum
Program clients, so heritage students and heritage
workers could meet and learn together.
This summer has also been a sad one for Yukon conservators. Nicola Walch, Conservator for the Klondike
National Historic Site, Parks Canada, lost her position in
the latest round of cuts. Yukon has gone from three fullCAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre
Partial view of the Keno City Mining Museums Bay City
Shovel under shelter. Its treads have been cleaned and new
plexiglas sheets allow the cleaned cab interior to be viewed but
prevents visitor access.
time conservators to two. All collections/curatorial staff
in the Yukon Parks unit are gone through position cuts.
There have been additional reductions to the staff tasked
with the maintenance of Parks' large collection of historic
buildings. Among other cutbacks, Dredge No. 4, the
largest wooden hulled bucket lined dredge in North
America, will be closed to the public. It took two years of
work by an engineering unit of the Canadian Armed
Forces to free the giant Dredge from the frozen ground
in the 1990s. Since then, years of industrial conservation/
stabilization work have been done to allow visitors to tour
this important piece of Canadian gold mining heritage.
The Dredge is one of KNHS's top two attractions. You
can read Parks own description of the Dredge's significance here http://www.pc.gc.ca/lhn-nhs/yt/klondike/
natcul/natcul-dn4.aspx . The long-term impacts to Parks
historic structures (in and around Dawson City) and to
their large and unique Yukon collections (also held in
Dawson City) seem likely to be severe. Cuts are to be
implemented in the fall of 2013. The "public" face of
23
KNHS remained the same for this tourism season.
Valery Monahan, Conservator, Yukon Museums,
Government of Yukon
Mount-making 101! Yukon College Heritage Certificate students and Yukon heritage sector workers try out their skills in the June
workshop.
24
Across the Country - Dans tout le pays
Eastern Region - Région de l’Est
Newfoundland and Labrador
our backlog and treated most of them. I cleaned and
stabilized a few of the court records with powdery paper.
Logy Bay-Middle Cove-Outer Cove Museum
The archives were lucky to have use of the museums
natural history intern, Jenny Hadley, to make lovely little
enclosures for a collection of small field diaries. I hope
to get her back this fall to make enclosures for semi-rare
fragile books from our library. This fall I will get back to
another enclosure project for government records, old
court records collections received in recent years. There
are always maps to clean, relax and repair and new
acquisitions to assess, besides our mountain of records in
backlog.
The Logy Bay-Middle Cove-Outer Cove Museum had
another successful season. The main priority for this
summer was to improve the preventive conservation and
collections management of the museum. We were
successful in updating all records, completing proper
encapsulations, acid-free tissue padding for artifacts, and
creating proper permanent accession numbers for all
artifacts. A policies and procedures manual was also
created, as well as a new integrated pest management
plan for the museum.
Adriane VanSeggelen
The Rooms Provincial Archives
Its been a busy first half of fiscal year for The Rooms,
with preparation of some big exhibits, even though the
archival conservation requirements for these is relatively
small compared to that of the museum. (and in this period
the art gallery).
A big blow to archival preservation was the federal
government cut to the NADP program. Even though the
brunt of this was felt by smaller community archives and
museums, whose preservation projects were almost
totally reliant upon NADP funding, the bigger institutions
also had projects discontinued or delayed because of it.
Work on the Rooms Disaster Plan continues, luckily for
conservators we have a maintenance crew that can fill in
much of the information needed on facilities and risk
assessment. It will pick up again now with staff returning
from summer holiday. I hope to learn from the
Christchurch New Zealand experience, as I will be down
under when they are giving a presentation on their
recovery in late November. (This is where Carla Pike is
working now, just had her contract renewed for 2 years.)
I have been kept busy with requests for treatment of
individual items and small collections, mainly MS, photos,
and maps, as well as answering outside requests from
government departments for advice on moving and
storage requirements, and preparation for digitization. I
have identified several dozen mouldy business journals in
We have made a start on film and audio reformatting.
Our SMI Archivist would like to get an intern to help rehouse photography material in our backlog, and Exhibit
Archivist wants items submitted for treatment by CCI in
time for 100th anniversary WWII. These projects are
still in planning stage.
Bev Lambert, Conservator
Canterbury Museum, New Zealand
Carla Pike is continuing work at Canterbury Museum in
Christchurch, New Zealand, and has just signed a twoyear contract as Earthquake Recovery Project Conservator. The city of Christchurch continues its rebuild, with
most large (and potentially dangerous) buildings down.
The atmosphere within the museum and city as a whole
is very positive with exciting times ahead for the rebirth
of the beautiful garden city.
Carla recently took part in the development of a short
film/exhibit, entitled Fracture-Reconstruct: Conserving
Canterbury Museum's quake-damaged objects. The
film includes discussion of conservation theory with
footage of the treatment of an earthquake-damaged
ceramic object. The film and fully restored ceramic will
go on display at the museum's partner
district councils (in libraries, galleries, etc), with the aim
of educating the wider community on the museum's
earthquake recovery process. Over the next two years,
Carla will be assisting with evaluation of damaged
museum stores, as well as continuing with the of treatment of earthquake-damaged objects.
Carla Pike, Conservator
25
New Brunswick
At the New Brunswick Museum conservation lab, two
interns have recently completed their time with us and
another has just begun. Danny Doyle, a recent Algonquin
College AMS graduate worked with us as a Young
Canada Works intern from September until June, working
on the conservation treatment of an important series of
mural cartoons by iconic New Brunswick artist Miller
Brittain. Danny was the first of what we hope will be
several interns to work on this project under the supervision of conservator Claire Titus. Due in part to the
oversize nature of these huge works on paper, the
conservation treatment is taking place not in the conservation lab, but in one of the museum’s public galleries,
allowing us a unique and valuable opportunity to interpret
conservation to the public. Jeanne Beaudry Tardif, a
2012 graduate of the Queen’s MAC program, paper
stream, joined us in August and will continue the treatment and interpretation of the Brittain cartoons over the
next several months. In addition to working on the
cartoons, Jeanne had the opportunity to contribute to the
conservation treatment of a number of works on paper
related to the death of General Wolfe slated for external
loan.
Sarah Catherine Mullin, now a second year Queen’s
MAC student in the artifacts stream, worked under the
supervision of NBM Conservator Dee Stubbs-Lee this
summer on a variety of projects, including cleaning and
rehousing a collection of eighteenth century trade silver
brooches, and conservation of a variety of artifacts in
preparation for a major upcoming exhibit marking the
bicentennial of the War of 1812; including the relining of
a shattered drum head from an important military drum
dating from the American Revolution.
The New Brunswick Museum will play host to the CAC
Conference in 2013. The conference is shaping up to be
one of our best so far, so please mark your calendars for
May 21-25, 2013 and make plans to head out to the
Atlantic coast!
Ontario
Archives of Ontario, Toronto
Dee Psaila has permanently joined the lab as the Senior
Conservator. She is currently concentrating on updating
and creating several preservation Policies and Procedures, including digitization loans, physical inspections to
new privately received acquisitions and finalizing our
26
disaster recovery documents. Dee also held a four part
training session on custom housing containers for archivists to create when processing collections. Archivists
completed the training with a kit containing all the sample
housings and Excel calculators for assisting with box
dimensions for future containers.
For the past year The Archives of Ontario Preservation
Services has had the pleasure of having a temporary
conservator working on a large scale re-housing project
of Ministry of Natural Resources aerial flight line maps.
The project involved humidifying and flattening maps
created using an array of mid to late 20th century
reproduction methods as well as removing tapes and
stabilizing tears. Over 8,000 maps have been completed
and the entire series boasts a total of 17,500 maps!
Shannon Coles, our conservator at the Archives of
Ontario, has been working hard on a variety of projects.
In addition to completing conservation treatments for
customer orders, other work consists of preparing
material for outgoing loans and the treatment of a land
grant on parchment dated from 1765. Treatment included
tensioning the parchment using rare earth magnets,
infilling and tear repair.
In December, the Archives held its first disaster recovery
workshop. Iona McCraith from the AAO taught 20 staff
members from across the institution how to be prepared
for potential disasters and treat a variety of record
formats.
The conservation lab contributes to the Archives of
Ontario Twitter feed (@ArchivesOntario) and features
several visual examples of treatments, tools and interesting preservation facts.
Dee Psaila and Shannon Coles
Waterloo Region Museum - Conservation Labs
Early this year, we focussed our attention on preparation
of artifacts for the final Gallery to open in the Museum,
called Coming of Age. Eeva Koski was our Fleming
Intern during this period. She was fortunate in gaining
experience in preparing for and installing an exhibit of
this nature. We were fortunate to have had her skills at
hand during this process. She also worked closely with
our clock volunteers, Gerry Kraak and John Motz in,
firstly, completing her research project on the Conservation Considerations and Approaches for Mechanical Pocket Watches and, secondly, organizing condition
and treatment records for horological treatment proce-
dures - a long overdue project. The latter resulted in a
great improvement to treatment documentation of these
largely operational collection artifacts.
every day practice at the bench, as the specific indications for which they were designed, along with their
performance and stability, have no equal.
Shortly after Eeva finished her internship, Nicole
Crawford began hers. Nicole was interested in the
preservation of large outdoor structures and civil engineering. We had two projects in mind when we accepted
Nicole. The first was the repair and conservation/
restoration of a large steel railroad semaphore sign pole,
that had been taken down a few years earlier while the
Museum was being built. It consisted of treatment largely
for rust and repainting but we had to arrange for some
specialized supports and welding repairs, once we
discovered a crack in the iron base. She also had to do
some Hxtal epoxy repair of cracked, coloured glass sign
lenses. Her other main task was to research, disassemble
and begin treatment on a early twentieth century Bowser
gasoline pump, that will be installed in our Doon Heritage
Village later this year. Nicole did her work well and
finished her internship later in August.
All of the products that were made here in Toronto were
manufactured with my direct involvement and with strict
adherence to Gustav Berger's original formulations, using
the highest grade materials and strictest quality controls.
This practice has been consistent with Conservator's
Products Company in New Jersey, which is owned and
operated by Dr. George Chludzinski, a chemical engineer
by profession, and who worked directly with Gustav
Berger since the early 1980s. He also extensively
researched the replacement resin for the new Beva 371b
Solution with the participation of Gustav Berger when it
became known that production of one of the resins would
cease. Dr. Chludzinski's son Greg is now also involved in
the daily activities of production and sales.
In addition to overseeing and guiding conservation
interns, WRM's Conservator, Richard Fuller, has been
working on a variety of conservation projects within the
Museum's Exhibit Galleries, Heritage Village, sister site Joseph Schneider Haus and normal requests for information from staff and the general public. This Fall, we are
receiving another conservation intern from the Fleming
program. Jana Jaros will be starting September 10th. We
look forward to Jana's internship, as there are many
potential conservation projects to work on.
Future orders can be requested from Conservator's
Products Company in New Jersey after this time. I have
appended their contact information below. There are of
course other authorized distributors of Beva products in
the United States who can also fulfill your orders and
these can be easily searched via the internet.
For future orders, please contact:
Conservator's Products Company
PO Box 601
Flanders, NJ 07836
Tel: 973 927 4866
e: [email protected]
web: http://www.conservators-products.com
Richard Fuller
Laszlo Cser, Restorart Inc., Toronto
Restorart Inc., Toronto
Conservator's Products Company (Canada) Ltd.
Back in 1987 I met with Gustav and Mira Berger in New
York City. This was prompted by the passing of Ziggy
Haller who had been manufacturing Beva 371 Solution in
Toronto under the authorization of Gustav Berger. At
that time shipping across the border from the United
States had many obstacles and costs. Today the trade
process is much smoother and, although there are still
associated costs, courier delivery systems are very
efficient. As of August 31, 2012, I will be ceasing the
manufacture and distribution of Beva products in Canada
to concentrate on professional and personal commitments. As the licensed importer, manufacturer and
distributor of Beva products in Canada, it has been an
honour to have represented Gustav Berger's products
and to have provided them to conservators over the last
25 years. I will continue to use these products in my
McMichael Canadian Art Collection
The overcrowded vault storage situation at MCAC had
been critical for several years and had reached a point
where the safe storage and movement of art works in and
out of the vaults has been compromised. The vault
storage systems had also not been upgraded since their
original installation approximately 25 years ago. Therefore a project was instigated in June 2011 to address both
these issues by redesigning/reconfiguring the current
vaults to make more efficient use of available space and
implement upgraded state-of-the-art storage systems
(mobile shelving, racking, etc.) that would more safely
and appropriately store each type of object.
Our Museum Assistance Program grant funding has been
approved which assists with contract personnel and
materials/supplies for the project, while we still await
27
notification of our Canada Cultural Space Funds which
will assist with new storage equipment costs and installation. There are three phases of work in order to upgrade
each of our three vaults: first, the Collections themselves
must be safely removed and temporarily stored; second,
each vault will undergo minor renovations while empty
and have the new equipment installed by Out of the Box
Associates/Montel with the new design from Lundholm
Associate Architects and finally the third phase requires
the Collections to be rehoused or moved back into their
new vault storage equipment.
The exhibit will continue at the Archives until May 2013.
Sarah van Maaren
This project begun in July with the arrival of our contract
crew, Marie Eve Thibeault (Vault conservator), Alison
Lindsay (Vault Registrar) and Michael Beynon (Vault
lead art handler / preparator) with preparations to empty
the Collection from the first of our three vaults which
comprise our paper, sculpture and textile collections. The
new equipment in this vault will be installed in October
and rehoused by the end of January 2013. This will be
followed by the emptying of our next vault in February.
We are ahead of schedule so far and all is proceeding
well. We'll see how it all unfolds!
Alison Douglas, Conservator, MCAC
City of Toronto Archives
The City of Toronto Archives has launched a new exhibit
titled Picturing Immigrants in the Ward: How Photography shaped ideas about Central and Eastern
European Immigrants in early 20th century Toronto.
Using photographs taken the Archives' holdings, this
exhibit examines how photography influenced impressions of Central and Eastern European immigrants in
Toronto by focusing on the area known as "The Ward",
which was bounded by College, Yonge and Queen streets
and University Avenue.
The exhibit was curated by two professors in the Department of Visual Arts at Western University, Sarah Bassnett
and Patrick Mahon.
In addition to the material from the Toronto Archives,
supplementary material has been sourced from the Ontario
Jewish Archives, Library and Archives Canada, and
Toronto Museum Services and includes a display of early
cameras. Juxtaposed with these early images are four
recent images taken by contemporary photographer Susan
Dobson, who is a visual artist and professor in the School
of Fine Art and Music at the University of Guelph.
28
cance to Canada's history and identity. Museums and
heritage institutions use the objects we study and treat to
tell the stories that bring this history and identity to life,
and to address current issues facing their communities.
CCI also has a responsibility to help museums be more
sustainable while preserving their collections. We develop
and share strategies to improve energy efficiency in
climate control and lighting, and to use resources wisely
through preventive conservation and risk reduction.
Canadian Conservation Institute
Serving Clients, Preserving Canada's History
In 2012, the Canadian Conservation Institute (CCI)
proudly celebrates 40 years of serving heritage professionals and institutions in Canada.
The Institute, a Special Operating Agency of the Department of Canadian Heritage, supports heritage institutions
and professionals in preserving Canada's heritage
collections so they can be accessed by current and future
generations.
We serve our clients in Canada by:
• Providing expert services to heritage institutions that
do not have the conservation skills, knowledge, and
equipment needed to preserve their objects and
collections themselves;
• Ensuring, through scientific analysis, conservation
treatments, and preventive conservation, that significant objects and collections are understood and
accessible, now and in the future; and
At the same time, we are working toward our own
sustainability by demonstrating that we meet client
expectations and achieve the results set out by the
Department of Canadian Heritage, and by raising
awareness among Canadians about our real contributions
to the preservation of Canada's significant cultural
heritage.
An anniversary is a time to reflect-to look back on past
experiences and to consider the challenges and opportunities of the future. The key question we must answer is
what should CCI do to focus its knowledge and expertise
to ensure the greatest impact on preservation and access
to significant heritage collections in Canada? The answer
will include a long-term research plan, a framework for
delivering expert services, an integrated approach to
professional development, and a talent management plan
to ensure we have the right experts in place to achieve
our strategic objectives.
We welcome your comments and feedback on CCI's
40th anniversary-tell us what CCI has meant to you or
your institution.
Institut canadien de conservation
Servir les clients pour préserver l'histoire du
Canada
• Delivering training, information, tools, and advice to
heritage professionals so they can make informed
decisions about preserving and ensuring safe access
to objects and collections for which they are responsible.
En 2012, l'Institut canadien de conservation (ICC)
célébre, avec fierté, 40 ans de services aux
établissements et aux professionnels du patrimoine du
Canada.
The foundation of all these activities is conservation
expertise and knowledge, which may be generated
through our in-house research and development or
acquired in collaboration with other experts around the
world.
L'Institut, un organisme de service spécial du ministère
du Patrimoine canadien, appuie les établissements et les
professionnels du patrimoine à préserver les collections
patrimoniales du Canada afin que celles-ci soient
accessibles aux générations présentes et futures.
CCI has a responsibility to ensure its work is focused on
objects, works of art, and heritage interiors of signifi-
Nous servons nos clients au Canada en :
• fournissant des services d'experts aux établissements
du patrimoine qui n'ont pas les compétences, les
29
connaissances et l'équipement en conservation
nécessaires pour assurer eux-mêmes la préservation
de leurs objets et de leurs collections;
• assurant, grâce aux analyses scientifiques, aux
traitements de conservation et à la conservation
préventive, que les collections et les objets
d'importance nationale soient compris et
accessibles0020aux générations présentes et futures;
notamment un plan de recherche à long terme, un cadre
pour la prestation des services d'experts, une approche
intégrée du perfectionnement professionnel et un plan de
gestion des talents afin d'avoir les bons experts pour
atteindre nos objectifs stratégiques.
Nous vous invitons à nous transmettre vos commentaires
et votre rétroaction sur le 40e anniversaire de l'ICC dites-nous ce que l'ICC représente pour vous ou votre
établissement.
• offrant de la formation, de l'information, des outils et
des conseils aux professionnels du patrimoine afin
qu'ils puissent prendre des décisions éclairées en
matière de conservation et d' accès sécuritaire aux
objets et aux collections dont ils ont la garde.
L'expertise et les connaissances en conservation sont à
la base de toutes ces activités et peuvent être le fruit de
nos activités de recherche et de développement à
l'interne ou être acquises en collaboration avec d'autres
experts de partout dans le monde.
Il incombe à l'ICC d'axer son travail sur les objets, les
œuvres d'art et les intérieurs patrimoniaux importants
pour l'histoire et l'identité canadiennes. Les musées et les
établissements du patrimoine utilisent les objets que nous
étudions et traitons pour raconter des récits qui donnent
vie à cette histoire et cette identité, ainsi que pour
aborder des enjeux d'actualité auxquelles leurs
communautés sont confrontées.
L'ICC doit aider les musées à préserver leurs collections
de manière plus durable. L'ICC élabore et communique
des stratégies visant à améliorer l'efficacité énergétique
pour la régulation des conditions ambiantes et l'éclairage,
et à utiliser judicieusement les ressources par la conservation préventive et la réduction des risques.
Nous travaillons parallèlement à notre propre durabilité
en démontrant que nous répondons aux attentes de nos
clients et que nous atteignons les résultats ciblés par le
ministère du Patrimoine canadien, ainsi qu'en informant
les Canadiens de nos contributions réelles à la
préservation du patrimoine culturel important du Canada.
Un anniversaire est une occasion de réfléchir, de revenir
sur nos expériences passées, et d'examiner les défis et
les possibilités qui se présentent pour l'avenir. Il faut
surtout se demander ce que doit faire l'ICC pour que ses
connaissances et son expertise aient la plus grande
incidence sur la préservation des collections
patrimoniales au Canada et l'accès à celles ci. Pour
répondre à cette question, l'ICC s'emploie à développer
30
Conference Reports
CAC Conference Review
2012 marked the return of the CAC Conference to
Peterborough, and the heart of the Kawarths sure did not
disappoint.
From the goodie-filled "swag bag" to the bustling
tradeshow - and how could anyone forget the gorgeous
waterfront view - the conference was a resounding
success. It began with the Preservation Unplugged
workshop that hosted a number of experts who discussed
some of the more technical preventive techniques used
for maintaining a museum environment. Case studies
from museums and galleries also helped to shed some
more light on these procedures and show these methods
in action.
The second workshop took participants on a picturesque
drive to Curve Lake First Nation. In the stunning surroundings, traditional basket-making techniques were
taught, an experience the participants will not soon
forget. A stop at the Whetung Gallery marked the return
back to Peterborough.
The conference reception was held in Market Hall, an
important historic site to Peterborough and also a great
case study for fundraising and attracting public interest.
Delegates were welcomed at the front table with beaming faces and the ever-popular button station, where
conservation and conference-related buttons were being
sold on behalf of the CAC. Wine was served and food
was brought out in abundance while old friends reconnected and new friends were made.
On Thursday morning, the papers began, starting with
Michael Harrington's Per Guldbeck Memorial Lecture.
The papers, over the course of the three days, ranged in
topic and covered a wide variety of techniques, procedures from handling the aftermath of a fire to uncovering
precious documents relating to the Titanic to the military
roles in protecting cultural property.
museums and galleries, or take a historic walk through
Peterborough's downtown, some were fortunate to cruise
the Trent Severn waterway and go through the infamous
Lift Lock, while others headed into nature to explore the
teaching rocks at Peteroglyphs Provincial Park.
The conference sessions were also accompanied with
some great posters that were on display throughout the
conference. Those reading the posters learned about
topics such as CO2 blasting tests, wax injecting to
stabilize a painting, along with many more.
The Emerging Conservators Committee (ECC) held their
2nd Annual Meet & Greet where emerging and established conservators mixed and mingled in Peterborough's
popular Riley's Old Towne Pub. A record number of
people attended, and once again, on behalf of the ECC,
we thank everyone for coming out.
One of the highlights of the conference was the AGM.
With a large crowd in attendance, the focus was on the
state of affairs in the heritage field. There were numerous heart felt discussions and overall deep support for
our field and our profession.
The banquet was also another highlight for many in
attendance. Though I could not be there myself I heard
the food was great, the wine was flowing and that the
silent auction saw a few bidding wars. And eventually,
happy new homes for the over 100 donated items were
found, including the coveted button with a political twist.
After all was said and done, Cindy Colford and Gayle
McIntyre, this year's conference chairs, along with the
team of volunteers they worked with, should be extremely proud of their efforts.
Kendrie Richardson
By mid morning Thursday, CAC delegates were presented with the findings of the ad hoc CAC/CAPC
Merger Committee. The session was facilitated by Janet
Honsberger, who managed the discussions with great
sensitivity and control.
Thursday afternoon was gifted with beautiful weather as
delegates enjoyed a variety of concurrent tours. Delegates were able to go behind the scenes of the local
31
Wolbers Cleaning Techniques Workshop
Vancouver Art Gallery, March 27-29, 2012
From March 27th - 29th, Conservators from across the
Lower Mainland and Sunshine Coast took part in a
Cleaning Techniques Workshop led by Richard
Wolbers at the Vancouver Art Gallery. A professor in the
Art Conservation program at the University of Delaware
since 1984, Richard has spent much of his life improving
cleaning systems for fine art materials. Participants
were all eager to improve their cleaning skills across a
broad range of media under the tutelage of such a wellrespected teacher.
The workshop was fast paced and packed with information. Richard spent the first half of each of the three days
lecturing on the physical properties and chemical interactions of art surfaces and cleaning materials. The afternoons were used as practicum where practical applications of the morning's lectures were investigated. During
the talks participants were also introduced to a variety of
new materials that could be used in cleaning. Many of the
participants brought in objects and artworks from their
own labs on which to practice and included paintings,
paper based objects, quilts and even several baseballs.
painted surfaces; their solubility parameters and how
cleaning solutions can be tailored to reduce swelling and
improve efficacy. During the afternoon session participants were shown how to test the pH and conductivity of
their art objects using Agarose gel. Richard also demonstrated how to make several of the gel recipes that had
been discussed during morning lectures.
On the second day of the workshop, Richard gave the
second of his lectures, Cleaning Materials: pH, Buffers, Conductivity and Surfactants. In it, the pH scale,
conductivity and ionic strength were discussed at length
to improve participants understanding of the solubility of
common soils and salts. Various chelating agents, such as
citrate and EDTA were introduced as practical applications of the chemistry. During the afternoon session,
participants continued to investigate the uses of gels and
emulsions as cleaning agents. Silicon-based solvents and
gels were also examined for their practical uses, such as
the cleaning of acrylic paintings and removing pen ink
from painted surfaces.
On the third morning, Richard gave his third lecture:
Cleaning Materials, solvents-solvent gels, in which he
On the first day of the workshop participants gathered in a
meeting room on the third floor of the Vancouver Art
Gallery where introductions were made and Richard
began his first lecture Cleaning Materials: Gels. In this
lecture, the use of gels such as Xanthan Gum and
Pemulen TR-2 were discussed as base ingredients for
cleaning solution recipes. By adding water, small amounts
of solvent and chelating agents, Richard's method of
gelling cleaning solutions is meant to improve the working
properties and reduce the toxicity of many conventional
cleaning methods. After a quick break mid-morning,
Richard introduced some of his latest research on acrylic
32
the opportunity to reduce toxicity in their working methods. I would highly encourage anyone involved with
practical conservation to take Richard Wolber's course.
This workshop was generously supported by a training
grant from the CAC.
List of Participants
Monica Smith and Kathy Bond
Vancouver Art Gallery
Liz Czerwinski and Nadine Power
Burnaby Village Museum
used the Teas chart and case histories to discuss the
working properties and toxicity of popular solvents as
well as their application in gels and emulsions. In the
afternoon session, Richard demonstrated how to make a
typical solvent gel. Participants presented the objects
they had been working on and how they had applied gels,
chelating agents and emulsions to their treatments.
Richard Wolbers was a remarkable communicator and
made highly complex subjects clear and applicable. The
sheer amount of information presented over the three
days might have been overwhelming if not for the fact
that the material was highly relevant to everyday conservation practice. Participants were enormously enthusiastic about the new materials and applications as well as
Rebecca Pavitt
Fine Art Conservation
Sarah Spafford-Ricci and Emily Min
Fraser Spafford-Ricci Art and Archival Conservation
Inc.
Natalie Stone
Flemming College - Collections Conservation and
Management Program
Heidi Swierenga and Mauray Toutloff
Museum of Anthropology
Nadine Power
33
Preservation Of Plastic ARTefacts in museum
collections" - The POPART project
Rapport du Congrès POPART sur la préservation
des plastiques dans les collections de musées
7 - 9 March 2012, Paris, France
Du 7 au 9 mars 2012, Paris (France)
The POPART conference, March 7-9, 2012 in Paris,
France, was the culmination of the four-year European
project on the Preservation of Plastic Artefacts in
Museum Collections. The host was the Centre de
recherche sur la conservation des collections - CRCC,
with Bertrand Lavédrine who directed the project and
was the conference host. Many researchers and practitioners recently involved in plastics were present including Yvonne Shashoua, Friederike Waentig, Colin
Williamson, Oscar Chiantore, Anna Laganà, Thea Van
Oosten, Susan de Groot, Brenda Keneghan, Michael
Schilling, Tom Learner, Jana Kolar, Matija Strlic, Gilles
Barabant, etc. The main focus was on 3-dimensional
plastic art or design objects. The POPART publication
provided during the conference, Preservation of Plastic
Artefacts in Museum Collections, edited by Bertrand
Lavédrine, Alban Fournier and Graham Martin, can be
ordered online at: http://popart.mnhn.fr/
spip.php?rubrique82. I highly recommend it to anyone
interested or working on plastics collections: it is a must!
In colour, nicely designed, quite readable and userfriendly… except it lacks a table of contents, and the
adhesive-spine is weak, mine breaking after using the
book over the course of one month.
Le récent congrès POPART qui a eu lieu les 7-8-9 mars
2012 à Paris était la conclusion d'un vaste projet de
recherche européen qui a duré 4 ans, sur la préservation
des artéfacts en plastiques dans les collections muséales.
L'hôte était Bertrand Lavédrine du Centre de recherche
sur la conservation des collections (CRCC), qui avait aussi
coordonné ce projet. Beaucoup de chercheurs et restaurateurs connus dans le domaine des plastiques étaient
présents : Yvonne Shashoua, Friederike Waentig, Colin
Williamson, Oscar Chiantore, Anna Laganà, Thea Van
Oosten, Susan de Groot, Brenda Keneghan, Michael
Schilling, Tom Learner, Jana Kolar, Matija Strlic, Gilles
Barabant, etc. L'accent a été mis surtout sur les oeuvres
d'art et de design tridimensionnelles. Les plastiques sont
devenus courants dans l'art des années 1950-1970, c'est-àdire il y a 60 ans et donc le temps passe et ces œuvres
vieillissent souvent mal, et donc nous faisons face
présentement à de nombreux problèmes dans les collections. La publication (uniquement en anglais) produite pour
ce congrès, Preservation of Plastic Artefacts in Museum
Collections, sous la direction de Bertrand Lavédrine,
Alban Fournier et Graham Martin, est disponible ici : http://
popart.mnhn.fr/spip.php?rubrique82. Je la recommande
chaudement à tout collègue s'intéressant au domaine de la
conservation-restauration des plastiques ou ayant à
s'occuper de telles collections. En couleur, belle mise en
page, texte fluide et toujours centré sur la nécessité d'être
utile et pratique, bref une belle réussite! Sauf qu'il manque
une table des matières… et aussi la reliure encollée est
faible, la mienne s'est brisée en-dedans d'un mois d'usage
occasionnel.
The first part of the conference presented (and also the
first part of the book presents) the SamCo or Sample
Collection project, i.e. the production of shared reference
sample collections of both new and degraded plastic
objects, covering the main families of polymers. Seven kits
containing fifty different plastics were collected - both as
pure plastic samples and as samples taken from an artifact
34
(therefore containing dyes, fillers etc). These were
analysed by the three main institutions working on this
project: RCE (formerly the ICN), the Victoria and Albert
Museum, and the National Museum of Denmark. The final
product was the creation of a web-shared database with
technial data for the 100 samples analysed by the following
possible methods: FTIR, PY-GCMS, EGA-MS, NIR,
Raman, DS, DSC. For each analytical technique, they
provide a description of its application for plastics identification or characterization, various strengths or challenges,
and examples of good results and limitations. As well they
finish by comparing the efficiency of analytical techniques
and the data reproducibility, and as well as other factors
such as whether a sample was required, sample size,
detection limits, costs, etc.
Next, the conference and book presented/presents the
Scientific Assessment of Degradation. This was very
interesting, involving detailed chemistry on degradation
mechanisms of various polymers. They looked at the
physical and chemical processes leading to deterioration
of the plastics' original properties. They provide quantitative evaluation of plastics degradation, and measurements
of polymer degradation by chemiluminescence (CL),
TGA, DSC, PY-GCMS and SPME-GCMS. Informationrich yet very readable. Over 50 pages in the book covers
this section.
Part 3 is on Condition and Collection Surveys. The
surveys were done by three institutions: the V&A, the
RCE (ICN), and the LC2RMF in Paris; the latter two,
not having collections, visited various museums in their
countries. The book presents the results as a compilation
of the conditions of plastics in the collections they
surveyed. They state that fractions degrading were about
70% for rubbers (although rubbers were not studied in
this project); 30-45% for plasticized PVC, cellulose
nitrate (CN) and cellulose acetate (CA); 20-25% for
acrylics (PMMA), polyurethane foams (PUR), highdensity polyethylene ( HDPE) and high-impact polystyrene (HIPS); and 10% for polyesters. They also surveyed the type of degradation most commonly found for
these different plastic groups: overall physical surface
damage such as scratches and deposits, as well as colour
changes, were the two most common problems found.
The conference was / the book is, most groundbreaking
in its Fourth section: Cleaning. How to clean plastics had
yet to be addressed in a comprehensive way in the
conservation literature - for example Yvonne Shashoua's
2008 Butterworth-Heinemann book Conservation of
Plastics: Materials Science, Degradation and Preservation has very limited information on conservation
cleaning treatments. The POPART team took on the
La première partie du congrès - et du livre - a présenté/
présente le projet SamCo, c'est-à-dire la production
septuple d'une collection d'échantillons de référence
regroupant une cinquantaine de types de plastique, tous
en double pour en avoir un produit 'pur' et un produit
provenant d'un objet manufacturé (et donc contenant des
additifs, colorants etc). Les 3 institutions en charge de ce
projet, le RCE (anciennement ICN), le Victoria and
Albert Museum (V&A), et le musée national du Denmark, ont aussi procédé à des analyse afin de produire
une base de données qu'ils partagent, avec leurs 4 autres
partenaires, en ligne via un site Web. On y retrouve, pour
les 100 échantillons, les données techniques, spectres etc
les plus utiles parmi les méthodes suivantes : IR-TF, PyGCMS, EGA-MS, NIR, Raman, DS, DSC. Pour chaque
méthode analytique, il y a une description de son application à l'identification ou la caractérisation des plastiques
ainsi que les forces et les faiblesses de la méthode. Cette
section se termine avec une comparison des diverses
méthodes analytiques, en terms de leur efficacité, la
fiabilité des données produites, et aussi d'autres facteurs
tels que la nécessité de prendre un échantillon ou non, la
grosseur de cet échantillon le cas échéant, la limite de
détection, le prix de l'instrument, etc.
Le congrès s'est poursuivi / le livre se poursuit, avec des
études sur l'évaluation scientifique de la dégradation de
divers plastiques. C'est une section très intéressante,
assez poussée en chimie des mécanismes de dégradation
de divers polymères. Ils se sont penchés sur les processus chimiques et physiques qui influent sur le changement
de propriétés des plastiques, et donnent une évaluation
quantitative de la dégradation des plastiques, notamment
en utilisant la chimioluminescence (CL), le TGA, le DSC,
le py-GCMS et le SPME-GCMS. Une mine
d'information couvrant plus de 50 pages dans le livre, le
tout bien présenté et soigné pour rester utile, bien
compréhensible et facilement consultable.
La 3e section porte sur les Constats d'état et les Examens
de collections. Ces expertises ont été fait par 3 institutions : le V&A, le RCE (ICN), et le LC2RMF à Paris, et
dans le cas de ces 2 derniers, ils ont examiné des collections de certains musées partenaires dans leur pays. Le
livre présente les résultats pour chaque examen de
collection et aussi une compilation globale de tous les
résultats. Ils ont trouvé que parmi les collections
examinées, 70% des caoutchoucs étaient en piètre état
(le caoutchouc ne faisant pas, cependant, partie du
mandat de la recherche POPART) et, dans le cas des
plastiques comme tel, 30 à 45 % des œuvres en PVC, en
nitrate de cellulose (CN) et en acétate de cellulose (CA)
se dégradaient, alors que la proportion tombait à environ
20-25 % dans le case du plexiglas (PMMA), des
35
challenge -- and succeeded brilliantly! Directed by
Yvonne Shashoua, this part of the project examined
different types of soiling or stains: yellow staining (often
the plastic itself changing colour upon ageing), light loose
dust, more engrained dust, 'fingerprint'-type soil (waxy
soil or sebum), oily deposits (vehicle exhaust with
particles), and paint or felt-tip marker marks. They
looked at several methods and materials for 'dry' or
mechanical cleaning, e.g. 24 different cloths, tissues,
sponges, brushes, air flows, etc): the eight best were
cotton swabs, cotton cloth, leather chamois, microfibre
cloth, sable hair brush, spectacles cloth, synthetic feather
duster and yellow Akapad sponge. Building on these
results, they then tested six different aqueous cleaning
solutions, applied using some of the previously identified
best mechanical cleaning methods; and did the same with
four different solvents (ethanol, isopropanol, white spirit
and xylene). For the liquid cleaning they focused on
sebum soil (fingerprints) and oily dirt. They investigated
cleaning of five different plastics mentioned above
namely CA, HDPE, high impact PS or HIPS, PMMA
and PVC. Results were presented for each of these
plastic types, along with easy to understand, traffic light
type system (red, yellow, green) tables. They also
provide five Cleaning Decision Trees, one for each of the
five above-mentioned plastics. What more can a conservator want? Oh yes, they also followed up with reports
on actual case study treatments, for each of these five
types of plastics. Heaven. If I may risk generalizing
(there is such a variety of possible situations in terms of
different chemical composition, different degradations,
different soilings, etc), they often found that small
controlled amounts of water/aqueous detergent/solvent
worked better because the liquid helped dislodge and
carry away the dirt and also served to lubricate the
surface, often reducing scratching by a factor of ten.
The last part of the book focused on the consolidation of
degrading polyurethane foam (PUR), which as we know
yellows and loses its 'spring' and softness upon ageing.
They found the best results with 3aminopropylmethyldiethoxysilane (AMDES), a silane
product which penetrated well and preserved the foam's
'spring' or elasticity with ageing, and also prevented the
foam from yellowing with time.
In conclusion, it was heart-warming for a Canadian (and
a CCI employee) to hear profusively from the POPART
speakers how they considered CCI's Saving the 20th
Century as being a landmark conference that got the
conservation field mobilised onto the urgency of conserving plastics, and laid out still current basic paths or
approaches (such as preventive measures). Over twenty
years later, the POPART conference was (and its
36
mousses en polyuréthanes (PUR), du polyéthylène de
haute densité (HDPE) et du polystyrène à impact élevé
(HIPS); et en dernier, polyesters étaient 'moins pires',
avec seulement 10% parmi eux se dégradant. Ils ont
aussi documenté les types de dégradations et leur
fréquence pour ces divers types de plastiques : de façon
générale ils ont trouvé que les dommages physiques,
comme les égratignures et les résidus ou saletés, ainsi
que les altérations de couleurs, étaient les problèmes les
plus fréquents.
La contribution majeure de ce congrès et de ce livre se
trouve dans la 4e section, celle du Nettoyage. Jusqu'à
présent, ce sujet n'a pas fait l'objet d'études
compréhensives en restauration; l'excellent livre Conservation of Plastics: Materials Science, Degradation
and Preservation d'Yvonne Shashoua par exemple,
pourtant récent (2008, publié par ButterworthHeinemann), n'en parle que de façon très rudimentaire.
Les partenaires de ce projet de recherche POPART ont
décidé de s'y attaquer de front, et ont réussi avec brio!
Sous la direction d'Yvonne Shashoua, cette partie du
projet a examiné diverses types de saletés: des taches
jaunes (souvent le plastique lui-même qui vieilli), de la
poussière, des saletés plus tenaces, des taches de doigts
('sebum'), des saletés huileuses (suie et particules
provenant de la combustion de moteurs) et des taches de
peintures ou de crayons-feutres. Ils ont examinés 24
méthodes 'sèches' de nettoyage incluant divers tissus,
éponges, pinceaux, jets d'air etc. Selon leurs tests, les 8
meilleurs étaient : les cotons-tiges, le chamois, les tissus
en micro-fibres, les pinceaux en poil de martre, des tissus
pour nettoyer les verres optiques, les plumeaux
synthétiques et les éponges Akapad. Munis de ces
résultats, ils ont poursuivi leur recherches sur le
nettoyage avec apport de 6 différents liquides aqueux
(solutions ou détergents) et 4 solvants (éthanol, isopropanol, distillat pétrolier 'white spirits' et le xylène). Pour
cette partie, ils ont examiné les saletés cireuses (traces
de doigt) ou des saletés huileuses, en utilisant comme
véhicule d'application les meilleures méthodes 'sèches'
identifiées auparavant. Les tests ont porté sur 5 groupes
de plastiques fréquemment retrouvés dans les collections,
parmi ceux nommés précédemment : les CA, HDPE,
HIPS, PMMA et PVC. Les résultats ont été présentés
pour chaque plastique, et sont compilés en tableaux de
référence très pratiques faisant usage de codes-couleurs
rouge-jaune/orange-vert faciles à comprendre. Ils
fournissent aussi des chartes décisionnelles de référence,
pour ces 5 plastiques. Que pourrait-on vouloir de plus?
Ah oui, j'oubliais, ils finissent avec des études de cas et
une description du traitement de nettoyage de 5 œuvres
véritables, applications 'en vrai' pour ces 5 types de
plastiques. Pour le restaurateur, c'est la cerise sur le
associated publication is) without a doubt, also a landmark, especially in terms of its extensive and
groundbreaking results on cleaning plastics. Many
participants called on the need to address the issues and
problems concerning repairs, which were not studied in
this project. Who knows, maybe a POPART #2 research, conference and book will take up the next
challenge…!
Carole Dignard, Senior Objects Conservator,
Canadian Conservation Institute
sundae, quoi! De façon générale, - si c'est possible de
s'hasarder ainsi lorsqu'il y a tant de facteurs qui diffèrent
- composition des plastiques, types de dégradations, types
de saletés etc - mais enfin, de façon générale ils ont
trouvé que de petits ajouts de liquides de façon controllée
améliorent souvent le nettoyage qui autrement, sans
apport de liquide, est abrasif. Le liquide sert de véhicule
pour transporter et éliminer les saletés et évite souvent
mieux les résidus, et sert de lubrifiant, souvent réduisant
les égratignures par un facteur de 10.
La dernière partie du livre porte sur la consolidation de la
mousse polyuréthane (PUR) dégradée - nous sommes
familiers avec le vieillissement de cette mousse, elle
devient jaune et perd sa capacité de 'rebondir' c'est-àdire son élasticité. Ils ont obtenus les meilleurs résultats
avec le 3-aminopropylmethyldiéthoxysilane (AMDES),
un composé silane qui pénètre dans la mousse et préserve
sa flexibilité et aussi prévient son jaunissement, en
vieillissant.
Quelques autres petites remarques en guise de conclusion : les conférenciers ont souvent reconnu comment le
congrès de l'ICC de 1991 Sauvegarder le XXe siècle fut
marquant dans le domaine, convaincant la profession de
se mobiliser afin d'adresser cette situation alarmante des
plastiques dans les collections muséales, et aussi traçant
certaines pistes et solutions qui demeurent encore valides
(par exemple les mesures préventives). Vingt ans plus
tard, le congrès POPART et la publication connexe sont
aussi, à mon avis, un point tournant dans le domaine, et
particulièrement pour leurs résultats innovateurs,
compréhensifs et détaillés sur le nettoyage des
plastiques. Il y a eu beaucoup d'appel à la nécessité de
poursuivre la recherche, notamment sur le thème des
réparations et des remises en forme de plastiques
dégradés. Qui sait? On verra peut-être un POPART #2 projet de recherche, congrès et livre - se poindre dans
quelques années pour relever ces prochains défis!
Carole Dignard, Restauratrice principale, objets,
Institut canadien de conservation
37

2012 Sept CAC Bulletin final.p65

Transcription

Documents pareils

Sep 2009 CAC Bulletin.p65 - Canadian Association for Conservation

Soirée Théâtre avec L`Andéenne

kim davenport

Collège Lucie AUBRAC

PRIX DU MUSEE DU CONSEIL DE L`EUROPE

Hebdo N°87 - Lycée Diderot

No.23 Nethi:ng

Rapport mensuel

APPLICATION/REQUETE N° 9974/8 2 X . v/DENMAR K - 282 -

Programme