2012 Sept CAC Bulletin final.p65
Transcription
2012 Sept CAC Bulletin final.p65
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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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. CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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. CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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. Executive Councillor Conseillère auprès du bureau 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. CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 7 Executive Councillor Conseillère auprès du bureau 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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. CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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. CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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: Charles Mervyn Ruggles Award Appel de mises en candidature : Prix Charles Mervyn Ruggles 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 13 Charles Mervyn Ruggles Award Prix Charles Mervyn Ruggles 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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. CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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. CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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. CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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- CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre (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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 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 CAC Bulletin de l’ACCR Vol. 37 No. 2 September 2012 septembre 37