SEP 2011 CAC Bulletin 7.p65 - Canadian Association for

Transcription

CAC
ACCR
BULLETIN
Canadian Association for Conservation of Cultural Property / Association canadienne pour la conservation et la restauration des biens culturels
SEPTEMBER 2011 SEPTEMBRE Vol. 36 No. 2 ISSN 1206-4653
Contents
Table des matières
Per Guldbeck Memorial Lecture
Présentation à la mémoire de Per Guldbeck
1
1
President’s Letter
Lettre de la présidente
8
8
CAC Board Members 2011- 2012
Membres du conseil de l'ACCR pour 2011- 2012
10
10
38th Annual CAC Conference
38e Congrès Annuel de l'ACCR
16
16
The Merger Committee Explained
Le comité de fusion ACCR/ACRP : compte-rendu
18
18
http://www.cac-accr.ca
Per Guldbeck Memorial Lecture
Présentation à la mémoire de Per
Guldbeck
Walking, Learning and Looking
Catherine Collins
CAC Nationwide Survey of Conservators
19
Sondage national de l'ACCR sur les conservateurs /
restaurateurs
19
Emerging Conservators Committee
Comité des restaurateurs émergents
20
20
Editors’ Note
Note de la rédaction
21
21
Charles Mervyn Ruggles 2011 Award
Prix Charles Mervyn Ruggles 2011
22
22
Emerging Conservator 2011 Award
Prix du restaurateur émergent 2011
24
24
2011 Grants / Bourses 2011
25
2012 Grants and Awards / Prix et bourses 2012
Call for nominations / Appel de mises en candidature
Charles Mervyn Ruggles Award / Prix Charles
Mervyn Ruggles
26
Emerging Conservator Award / Prix du
restaurateur émergent
26
2012 Grants/Bourses 2012
26
37 Annual CAC Conference and Workshop Reviews
CAC Conference Review
28
CAC Workshop - Printmaking: Artist Meets
Conservator
28
CAC Workshop - Emergency Response
30
CAC Workshop - Advanced Issues in Emergency
Preparedness and Response
31
th
News From Abroad
Des Nouvelles de l'Étranger
33
33
Across the Country - Dans tout le pays
Western Region - Région de l’Ouest
Eastern Region - Région de l’Est
35
39
Conferences and Training -Congrès et formation
43
Why Accreditation Matters
De l'importance de l'accréditation
45
45
AIC: New Conservation Resources for Collecting
Institutions
48
Un conservateur-restaurateur se remémore 30 années de service dans le secteur
culturel, tout d'abord en conservation-restauration, puis en planification du
financement, et fait quelques suggestions pour aider les restaurateurs à durer dans
leur emploi. Ces recommandations sont fondées sur diverses expériences qui n'ont
pas de lien avec la restauration, notamment en musique, en activisme
communautaire, en enseignement et dans la rencontre de nouvelles personnes. Dans
le cadre d'un plan de durabilité personnelle, on peut inclure l'apprentissage, le
ralentissement, la concentration sur une chose à la fois, la découverte d'un bon
enseignant, l'acceptation des erreurs en tant qu'occasion d'apprentissage et le
partage de soi avec les autres. Une personne peut acquérir de nouvelles aptitudes
qui l'aideront à relever les défis reliés à son travail tout en restant en bonne santé.
CAC Bulletin de l’ACCR Vol. 36 No. 2 September 2011 septembre
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I am honoured to give this lecture today. I did not know Per
Guldbeck personally. People who knew him spoke about him
with respectful tones. I still have his book The Care of
Antiques and Historical Collections from 1972, and it was
appropriate for the times when it was written. If you have not
seen the book, his focus was on collections in community
museums: a good general guidebook with some amusing
passages such as his warning on the dangers of dry-cleaning
after a lunch with alcohol. Through his book, Per Guldbeck
lives on in the worlds Amazon, Abe Books and eBay.
In my recollection, the Per Guldbeck lecture is meant to be
thoughtful and not necessarily a Conservation lecture. So I
have taken liberties in my musings but I will try and link my
reflections back to our profession. My thoughts are based on
the fact that I have worked over 30 years in the not-for-profit
heritage/cultural sector. They are coloured by a point of view
which is survivalist because funding for these institutions
fluctuates and does not depend wholly on government. I ask
you to bear with me, sit back and relax.
My talk is also informed by nearly ten years of experiences
with the concerns to care for ageing elders: this is a preoccupation with baby boomers. Elders appear in my narrative.
beginning with my father who turned 90 last fall, and who lives
in a senior's residence for Canadian Veterans in Toronto. In his
paid working life he was as an engineer. At age 19, he enlisted
in the First Canadian Army Corps in the Signals and spent five
years there. Part of his army service was in Italy and he says
little about this.
“meeting the needs of the present without compromising the
ability of future generations to meet their own needs”. In the
1990s, economists expanded the approach adding in financial
sustainability and the environment, in short: "people, profits
and places."
The Canadian Conservation Institute has recently published
its Reflections on Conservation and this has many articles on
sustainability within the context of Conservation. In Manitoba,
many heritage, visual arts and performing arts organizations
signed up for a detailed operational analysis in the Manitoba
Arts Stabilization Program looking at staffing, programs,
governance and revenues etc. in exchange for funds to come at
the end of a five year qualification period. The Winnipeg
School Division, where I am a trustee, has a Sustainable
Development Policy to reduce its environmental footprint and
engage children in this through their education. Today I want
to talk about sustainability of you in your chosen profession.
When one is young and starting out in a career, I believe that a
person needs to have a passion for their profession and I had
one. At the beginning, Conservation seemed to me to be a
glamorous field where one could have access to and restore
precious objects and travel to exotic destinations. In 1980, the
year after my graduation from the Queen's Program, I worked
Instead he prefers to talk about his experience in Holland.
When the war ended he was in Groningen as part of the
liberation army that the Dutch still revere today. Here he is in
Groningen, second to the left (Figure 1). Apparently in Holland
he did a lot of walking and once was asked by a young Dutch
girl what he was doing? His reply was that he was walking and
looking; apparently he did this a lot.
These days it seems the buzz word is sustainability. The word
came into use in the 1980s, defined by the United Nations as
Figure 1- Canadian Soldiers in Groningen, Holland, 1945
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Figure 2- Cathy Collins working at Poggio Civitate
excavation, 1980
for 12 weeks at the Etruscan excavation called Poggio Civitate
near Siena. Other Canadian conservators worked there as well
through the connection of CCI Conservator, Judy Logan. This
picture, Figure 2, shows me working on a ceramic that was very
frustrating and there is an excerpt from my diary on this piece,
Figure 3, which I came to call "the pot from hell." This ceramic
is now in the Etruscan Museum located in Murlo, Italy. It was a
cold summer and the work was repetitive: I spit-cleaned a lot of
carbonized seeds while trying to assemble this recalcitrant pot.
We lived in a castello on top of a hill that was the Bishop of
Siena's summer residence in the Middle Ages: it is largely a bed
and breakfast now.
In reality, there are high expectations on the Conservation
profession. As students we begin with learning of our Code of
Ethics. Then there are expectations imposed by others. These
include people who think that collection preservation is an
exclusive task for conservators and don't understand the time
it takes. Artists may use new materials and combine them in
creative ways believing that conservators in the future can
take care of everything. While I served on the Manitoba
Heritage Council, the Board members from all areas of museum
operations collectively lamented the lack of teaching of history
in schools, lack of funding, ageing of volunteers and so on.
Another challenge is imposed by the Second Law Thermodynamics. For those who need a review this law states that
entropy (chaos) tends to increase over time. I like the more
philosophical interpretation by renowned Czech poet, playwright and politician, Vaclav Havel: "Just as the constant
increase of entropy is the basic law of the universe, so it is
with the basic law of life to be ever more highly structured and
to struggle against entropy." This struggle uses up energy.
Some people are lucky that they stay in love for a lifetime.
Sadly I am not one of them which is why I work in another area
now that is called Fund Development. I moved into this area
from Conservation initially because I wanted to see the
Winnipeg Art Gallery raise the funds to properly house and
maintain the collection and art on display. Our then Director,
Pat Bovey, was keen to get this done. We were successful
largely through Cultural Spaces Funding combined with funds
from the Museums Assistance Program, the Gallery's foundation and some corporate donors. The application process took
several years as did the renovations. You can see the results if
you take a basement tour at the Winnipeg Art Gallery. Essentially it was a large collection preservation process with work in
the storage vaults and in the galleries. Over the past 12 years,
we've done well in getting grants for projects. This fall we are
looking forward to producing a touring show of the art of
William Kurelek; another successful grant application generously funded by the Department of Canadian Heritage.
Common to both Conservation and Fund Development fields is
a lot or repetition, a high degree of detail and great burden of
expectations. So how do you maintain a passion for what you
do? How can you remain sustainable as a working person?
This is where the walking and looking comes in. The message
in my lesson is not to ignore the common experience of living
and other people. Keep moving on a mental plane and physical
one too. Accept change and move with it. Learning things that
may seem at first peripheral to your development on professional level are the very things that can make you mentally
sustainable and healthy. Make time for learning because it you
may find out that something you learned in one context
becomes useful in another. What follows is a list of my
suggestions:
Keep Learning and Don't Give Up the Things
That You Like to Do
Figure 3- excerpt of diary from Poggio Civitate excavation
Before I began my study of Conservation, I was learning to
play the bouzouki, the long necked lute known in music such
as that of Mikis Theodorakis and songs like Zorba the Greek. I
also studied Modern Greek but I gave up these things because
I felt that had to get serious and get a job. What a mistake!
After ten years of working I went back to university on a parttime basis because I felt that I needed to do something creative
and I knew a lot of artists. I studied Fine Arts at University of
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this stop you. Old dogs can learn new tricks. So many times I
began a new song or a new technique and I start out thinking
that I will never be able to do it. Sometimes I hit a plateau and it
seems day-to-day that I am going nowhere but then later on, I
find out that I have learned it. Looking back, I am amazed how
far I have come.
Figure 4- Cathy Collins, accordion and her parents,
Margaret and Alex Collins
Manitoba over the course of about six years. Through late
1980s and the 1990s, I pursued things as an artist and met with
success although it took some time. A highlight was having
work in the Istanbul Biennial in 1992. By the time I had arrived
at the point of having art in the Canada Council Art Bank, I was
already well down the road on another creative pursuit. For the
past ten years, I have been studying the accordion, Figure 4,
with Karl Mueller. Karl is older than my dad and has the
common experience of being a WW2 veteran: first in the
Russian army and later in the German army.
Anything that you learn to do will pay off in the other areas of
your life and your work. It gives you confidence for those
rough times when you doubt yourself and what you are doing.
Over the years, Karl and the accordion have taught me a lot
within the context of learning music that can be extrapolated to
life lessons. Accordion-playing is a body and mind pursuit. To
play the accordion, you must become used to playing the
chord buttons on the bass side without being able to see them.
It is essentially the same on the right hand side although you
can see your hand. Your attention is focused on the score and
you have to learn to make the instrument breathe and to not
change the direction of the bellows that supply the air in the
middle of musical phrases. After awhile this becomes quite
natural. It is not something you learn with your conscious
mind.
Accordion-playing may not relate to Fundraising or Conservation but believe that anything you learn will payoff in another
areas of your life and work. Not long ago, I saw that Conservation of OnLine had courses listed for fundraising and
volunteer management: excellent skills for anyone to acquire.
We can all use a little help and some special funding for our
projects.
Learn from Your Mistakes and Let Go of Perfection
Learning anything new can be challenging and it usually takes
months before you can even begin to do it. As an older learner,
one feels a little more self-conscious and even fearful. Don't let
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You must get over the idea of being perfect. Perfection seems
to me to be a pitfall in Conservation because the profession is
very detail-oriented and the desire to be perfect can make you
anxious for no good result. You can also learn more from a
mistake than by doing something right the first time. If you
make a mistake, give yourself a break and fix it. New things
may arise from errors. Christopher Columbus was financed to
find a route to the Indies. Instead he found a new continent.
This quote by Joseph Chilton Pearce, American author of
books on children development puts it this way: "To live a
creative life, we must lose our fear of being wrong."
I also think that there is merit to sharing what we have learned
by our mistakes. I have to confess to learning a whole lot when
I shrunk a painting and caused the paint to tent. I had to figure
out how to expand the canvas and put down all the paint. I had
to find out what it was about this canvas that made it so
sensitive to humidity and it took a great deal of work to repair
the damage. I became acutely aware that I was not practicing
my next suggestion.
Slow Down, Focus and Practise
When I learn to play a new piece of music, there is a temptation
to try to play it through. I tell myself that playing it through is
good for practice. Instead I have had to learn to focus on the
parts that I play poorly. It turns out that it works better to learn
the music in small bits and play these parts over and over
again. Sometimes it means analyzing the rhythm and counting
it out. I may have to play a single bar over and over again
starting out very slowly. To quote Karl: "You can't play it fast
unless you play it slow. Take as long as you want to play it
slowly." Once I have it right, he then says: "ok, now go and
play it at least a hundred times."
As a consequence, I have developed an awareness that
concert pianists must play a composition for years in order to
be able to sit down and perform it from memory. They have
had to play small sections over and over again and listen
closely. I have found that you can't really hear yourself play or
work on the nuances and your own interpretation of the music
until you have it memorized.
We have the idea that people are gifted in various areas.
Certainly it is undeniable that some people learn things more
quickly and have an affinity for some things. However, to learn
something really well it takes time and determination to practice
the same thing over and over.
In his 2008 book called Outliers, Canadian writer and chronicler
of social trends, Malcolm Gladwell, has made the assertion that
being gifted may more be the case of being gifted with the time
and having the dogged determination to practice something for
at least10,000 hours. The Beatles had a grueling concert
schedule in Hamburg before they launched in England. From
biographies of Pablo Picasso and Andy Warhol, I would say
that they drew obsessively to become as adept as they were.
We need to slow down and think so we can live in the moment
and focus. Practice is essential to mastering a new skill.
Look for the Patterns
Looking for the patterns is an observation that comes from
learning a new piece of music where I am confronted with a
page packed with notes. To deal with this I have learned to
break things down and look for the patterns within the score.
Learning something new can fill one with anxiety about the
unknown but if you look for what is familiar you will have
something to build upon. Identify what you know and go from
there. In the world of writing resumes, these are called transferable skills.
just make that the exclusive centre of your focus.
A Good Teacher is Important for Your Learning
When you decide to learn something new, a good teacher is
invaluable. Reading things is fine to see it you are interested in
something. Sometimes you are far away from an expert and you
need to read. When I started out working in Conservation, I
was far from the centre of the Conservation world so I had to
learn by doing. This was good because I had opportunities to
try new things and figure things out. Now I would say that
there is no substitute for someone showing you how to do
something or for job-shadowing a person to learn.
Karl told me right from the beginning that people can learn to
play an instrument on their own. But he also said that he could
hear right away if they had had proper instruction by how they
hit the notes, something that is called articulation in music. For
I think that this recommendation is also worthwhile for
conservators who have to work solo or to pursue things like
building projects, and managing other people or disciplines. As
a conservator, you already have skills like attention to details,
drafting treatment proposals, synthesizing information, and
report writing. You can use these skills in a new context and
draw upon your networks for help. In this digital age, it is a
whole lot easier.
Resist the Demand to Multi-task
Somewhere along the way in the world of work, we arrived at a
belief that it was admirable to have the capacity to do many
things at the same time. Eventually we lost the ability to set
boundaries and say no to anything. We end up frantically
trying to accomplish too many things and making hasty
decisions. I know this because I have done it and regretted the
results. Then I had to forgive myself for the errors that I made.
One thing that Karl has warned me about was trying to practice
too many songs. Better to really focus on a few to learn the
skills embodied in each one. Then have a little fun when you
have worked on the hard parts. This gets back to Malcolm
Galdwell's premise again that you can't master something if you
are not able to practice it because of having to do so many
things. Doing too many things dilutes the power of concentration.
Back in 1991, Dr. Donald Redelmeir from Sunnybrook Health
Sciences Centre in Toronto made the link between motor
vehicle crashes and cell phones based on accident statistics.
In short, he found that driving while talking on a cell phone
was as dangerous as drinking and driving. Redelmeir's
homespun philosophy is that life is a marathon and not a sprint
stating that: "a great deal of mischief occurs when people are
in a rush." So I would advise against trying to do too many
things at the same time in treatments because you can't give
your attention to things fully. While you are doing something,
Figure 5 - excerpt of accordion score from Swedish Polka,
Palmer Hughes arrangement
each instrument the musician has to learn how to create this
and a vocalist as well. This is a dead give away for the selftaught.
Listening to music, there is a wide difference to hearing a set of
staccato notes (short and quick with notes not connected)
from legato (notes that are tied together and smoothly connected; you don't let go of one until you are about to strike the
other).
This passage in Figure 5 taken from the Swedish polka shows
connected sets of notes that are legato with notes having dots:
that are emphasized and shortened - two very different
approaches. As it turns out there are degrees of staccato and
legato. Learning to play them is like being able to add spices to
a dish. Karl calls it the salt and pepper of a song. There are
other subtle things to learn like playing a series grace notes
before the main note in a melody where the first grace note
needs to be struck harder than the others. No doubt there are
places where this is written down but it saves a lot of time if
you have a good teacher to help to learn this.
A good teacher can prevent you from developing bad habits.
Repetition is needed for practise but you don't want embed an
error. A good teacher will also be patient to wait out the time
that it takes to learn something, to not humiliate a student and
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to be there to remind you if you are repeating a mistake. A
good teacher knows when to put you outside your comfort
zone, moving you into the area where you develop new skills
and knowledge. They know when to hold you back to complete something and then push you forward.
There is no substitute for having a teacher right there. Sure
you can learn things in online and in distance education but
learning a concept is different that learning something where
proper hands on instruction is preferred. Making a mistake can
be instructive but developing a bad habit is quite another
thing. Even a short stint of concentrated job shadowing from
time to time to learn something new is a good idea.
The Value of Teaching
I have reached the point in my music practice where teaching it
will have some benefit. I know chords and the theory. Teaching
to a novice will prove that I really understand the concepts.
You can learn a lot about yourself when you teach too. I taught
four years as a sessional instructor in a course on art techniques at the University of Manitoba, School of Art. Teaching
is a great way to develop patience and learn that students are
individuals with individual needs.
In good teaching, learning needs to be learner-centered rather
than instructor-centred. This can mean finding a hook for the
learners. For example, at the Superhero Supply Store in
Brooklyn children can learn to reach and make art through the
experience of creating the stories for their personal superhero.
Two years ago, students at Argyle Alternative School in
Winnipeg were studying John Steinbeck's Of Mice and Men
and rewrote it as a play set in a rooming house in Winnipeg.
They obtained copyright permission from the Steinbeck estate
to produce their script as a film that went on to great acclaim at
an aboriginal film festival. The students who acted in film and
did the production are now in films studies here and in
Vancouver.
Hands-on learning is learner-focused and although we
associate it with children, it works just as well for adults. When
the students learned about egg tempera painting in the classes
that I taught at the School of Art at University of Manitoba, we
made gesso-covered panels and broke eggs. In the lecture on
illuminated manuscripts, I brought in an artist-friend who
explained how to make feather pens and then they drew with
his pens. What better way to learn about print-making than to
make prints. I suggest that some of us who are moving on in
our jobs should show people how to do things in our field. We
could record things on video and send them out. YouTube is
another place to put them.
Learn to Play Louder
After several years of study, Karl advised me that it was
important to be able to play louder which meant developing
stronger fingers and playing more assertively. Music after all
has passages that run the range of volume from piano
pianissimo (ppp), very very soft, to forte fortissimo (fff) or
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very very loud.
For conservators, I would say that learning to play louder is
like learning to speak clearly to the public. You can learn this
outside of your professional role. Take a course like effective
oral communication. Learning how to speak in public is
important. Classes in written communication are also excellent.
If we are "louder" and here I mean being more articulate and
learning that communication goes two ways, we will be taken
more seriously on a professional level. You can't get your
message across if it is written in a way that confounds the
listener or the reader.
Work, Talk, Play and Live with other People:
Share Yourself with Others
In my opinion, we Conservators tend to indulge our insecurity
as a profession by staying professionally separate from the
larger museum professional organizations, such as the
Canadian Museums Association. Because Conservation is
filled with specialists, we have focused on becoming specialists when "General Practitioners" were what the country
needed. I believe that the Conservation profession still suffers
from being unknown by the public. With the exception of
curators and educators, this is probably true of most people
who work in culture and heritage.
For the past 30 years, I have lived in a transitional area of
Winnipeg, one of the poorest postal codes in Canada. Many
immigrants first come to this part of Winnipeg: I have
neighbours from Myanmar, Azores, the Philippines, Chad,
Eritrea and Northern Manitoba, among others. Within one
block of my house, I can eat Vietnamese Food at Pho Number
1, shop at Bueno Brothers Filipino Supermarket or Dino's
Caribbean Mart.
Working in the community around me on common issues such
housing safety has taught me a great deal about listening to
other people. For over ten years, I worked on trying to save a
block of housing in my neighhourhood from demolition. I
learned a great deal about crafting presentations for City Hall
and working with my neighbours and with various government
officials, politicians and agencies. In the end, our resident
group could only save one house. After all the battles had
ended I was interviewed by the CBC and I described all my
work as the best education that I had not paid for. This
volunteer work was also what trained me for Fund Development and becoming a School Trustee.
My extensive contacts in the community mean that I think a lot
more about the story that we wish to create for Canada's
history because it is changing all the time. How can we reach
newcomers, communicate effectively and bring in new perspectives?
In this regard the Canadian Conservation Institute is to be
commended for their 2007 symposium and the publication
Preserving Aboriginal Heritage: Technical and Traditional
Approaches that brings forward the perspective of aboriginal
peoples. Social media have also made it possible to have
conversations with and give voice to a much broader community.
I hope that my thoughts have given you some inspiration to
move along walking, looking and learning. Now go do it for
yourself.
I suggest that this can change, if we start being more vocal.
We can pursue some things such as:
• Do talks to seniors groups or at schools
• Ask people in public relations if you can send out a
press release about something that has been accomplished
• Get a spot of the institutional website
• Create a conservation blog
• Become members of boards, parent councils, etc.
where your can have a short curriculum vitae that
lists what you do or names your profession
• Build a house for Habitat, run a marathon etc.
• Build an alliance for a common cause
• Form a co-operative
This list is endless. While sharing yourself with others and
working for other causes, you will be surprised at how much
you know that ends up being helpful in other capacities! You
will build a network of allies and friends who can help you in
the times when you need reassurance and moral support.
Change Happens and We Can't Save Everything
As preservers of objects, we need to become comfortable that
we can't save everything: people who live now do not live in
the past and we can't expect them to be interested in something
unless it can link to their experience. Sometimes we can only
afford to preserve the idea or experience or a fragment. A good
example is a cluster of buildings near Winnipeg City Hall. The
façade of the downtown campus of Red River College is the
remains of a series of old buildings: the buildings were sinking
so they were incorporated into a new building that overlies a
back lane and attaches to another old building that was in
sound structural condition. The new culinary arts building is
an old bank tower that has a new annex that occupies the site
of the Leland hotel that burned several years ago. I am sure
there are other good models across Canada.
In addition to changes wrought by the agents with which we are
familiar, there is a frantic change imposed by technology and the
idea of the value of the virtual experience over the authentic one.
Keeping things in climate-controlled storage is expensive.
Saving the record of something may be the only way to preserve
it because this is all we can afford to preserve or the only way
we are capable of preserving it. My example for this is a sculpture by the Russian Futurist artist Vladimir Tatlin, Model for
Monument to the Third International (1912-1920), shown sideby-side with American artist Dan Flavin's Monument for V.
Tatlin, dated 1965. Dan Flavin's piece references the missing
Tatlin work but it too is going to be ephemeral. As Fluxus
movement artist, Geoffrey Hendricks, is showing us here in one
of his 2006 performance art piece, Headstands, Three Variations,
the idea is the work of art. By performing it for yourself, as
Hendricks encourages you to do, you are keeping his idea alive.
Cathy Collins has a BSC from University of Toronto,
a Masters of Art Conservation from Queens University and a Bachelor of Fine Art from University of
Manitoba. As a Conservator, she has worked for the
Manitoba Museum and Winnipeg Art Gallery with
shorter conservation projects in Mexico, Italy and
Winnipeg. Within Manitoba she visited many museums
to advise on conservation and collection care for the
Manitoba Heritage Conservation Service. She was a
Board Member for the Manitoba Heritage Council
and an instructor for four years at the School of Art
at University of Manitoba. Cathy has also devoted
countless hours to housing issues in Winnipeg's inner
city. In 2009, she was elected as a trustee for the
Winnipeg School Division.
Cathy Collins possède un Bac en sciences (BSC) de
l'Université de Toronto, une maîtrise en restauration
d'oeuvres d'art de l' Université Queen's et un Bac en
art de l' Université du Manitoba. Elle a travaillé
comme restauratrice pour le musée du Manitoba ainsi
que pour la Winnipeg Art Gallery et a effectué de
courts projets en restauration au Mexique, en Italie
et à Winnipeg. Pour le Manitoba Heritage Conservation Service, elle a visité un grand nombre de musées
à l'intérieur du Manitoba afin de donner / prodiguer
des conseils en restauration et en soins aux collections. Elle a été membre au conseil du «Manitoba
Heritage Council» et professeur durant quatre ans
à l'école d'art de l'Université du Manitoba. Cathy
s'est dévouée sans compter pour régler les problèmes
de logement au centre-ville de Winnipeg. En 2009,
elle a été élue au conseil d'administration pour la
«Winnipeg School Division» .
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President’s Letter
Lettre de la présidente
I accept the position as President appreciative of the
many hours of work that have preceded me. My career
so far in conservation can be characterized as one that
has experienced the many challenges of both the private
as well as the public spheres. My aim is to use the
realities I have witnessed to understand the struggles of
many of you. I will endeavour to represent you and
listen to your concerns.
J'accepte humblement le poste de présidente en étant
reconnaissante à ceux et celles qui m'ont précédée pour
leurs nombreuses heures de travail. J'espère que mon
expérience dans le domaine de la restauration, ponctuée
de nombreux défis tant dans le secteur privé que dans le
secteur public, saura vous servir. Mon objectif est de
puiser dans les réalités dont j'ai pu témoigner pour mieux
comprendre les difficultés auxquelles nombre d'entre
vous faites face. Je m'engage à vous représenter et à
tenir compte de vos inquiétudes.
The board has many exciting projects underway, as you
may have noted from the March Bulletin, and/or our
Annual General Meeting in Winnipeg. In my opinion, one
of the most important of these is our effort to lighten the
load for conference organizers, in an attempt to encourage smaller communities nationwide to host the event. I
am convinced, even more so since attending the
Winnipeg conference that the annual event serves to
unite us and facilitate communication. I was reminded of
the differences in our daily realities during the Emergency Preparedness Workshop this May, on comparing
the infrastructure and recovery process in Red Deer
Alberta, as compared here in Ottawa.
We are looking forward to the conference in 2012 to be
held in Peterborough and the conservators there are
doing an outstanding job organizing it. We are incredibly
excited to announce that the 2013 conference will take
place in St. John, New Brunswick, hosted by the New
Brunswick Museum.
Website renewal and rejuvenation is well underway in an
effort to render our public face more accessible, dynamic
and practical. We are brainstorming marketing possibilities to ensure our profession is in the public eye more
than ever, and so we welcome your outreach ideas and
suggestions. On the launch of our new website, we ask
that you watch out for a link to our nationwide survey of
conservators. We hope you will all participate, as our
aim is to find out who you are and what you are up to. It
will be accessible to you online as well as via other
media, for those of you who do not wish to participate
electronically (see page 19).
I have heard junior conservators voice their concern in
their search for mentors time and again. This is something we are working on. In the meantime, I would like to
initiate an interview each Bulletin, of a senior conservator. This could be undertaken by a member of the ECC,
and hopefully offer an opportunity for a junior conservator to get to know a revered member of the profession
and their career.
8
Comme vous avez pu le lire dans le Bulletin du mois de
mars ou avez pu l'apprendre lors de notre assemblée
générale à Winnipeg, le conseil travaille actuellement sur
divers projets passionnants. Selon moi, l'un de ces projets
parmi les plus importants est notre tentative de réduire la
charge de travail des organisateurs du congrès annuel
afin d'inciter les plus petites localités à se porter
volontaires pour accueillir l'événement. Je suis
convaincue, et encore plus depuis le congrès de
Winnipeg, que ces événements servent à nous unir et à
favoriser la communication et la comparaison de nos
cadres de travail. Je me suis rappelé des différences
dans nos réalités quotidiennes durant l’atelier de
“Préparation en cas d’urgence” en mai dernier, en
comparant l’infrastructure et le procédé de récupération
mis en place à Red Deer en Alberta avec ceux d’ici à
Ottawa.
Nous avons déjà hâte au congrès annuel 2012 qui aura
lieu à Peterborough. Les restaurateurs de ce coin de
pays font un excellent travail d'organisation. Nous
sommes très heureux de vous annoncer que le congrès
2013 se tiendra à Saint John, au Nouveau-Brunswick, et
sera organisé par le Musée du Nouveau-Brunswick.
La refonte du site Web est en cours afin de rendre notre
vitrine publique plus accessible, dynamique et pratique.
Nous préparerons un plan de marketing pour faire en
sorte que notre profession soit plus que jamais sous les
feux de la rampe. Nous sommes en train de débattre de
diverses possibilités de diffusion et sommes ouverts à vos
suggestions. Au lancement de notre nouveau site Web,
nous vous demandons de surveiller pour un lien
concernant notre sondage national sur les conservateurs.
Nous espérons que vous y participerez tous, notre but
étant de découvrir qui vous êtes et ce qui vous anime /
occupe. Le sondage sera accessible en ligne ainsi que
par le biais d’autres moyens pour ceux et celles qui ne
désirent pas répondre “électroniquement “(voir page 19).
This is just a taste of the many projects underway. I
would like to thank all outgoing board members for their
tireless work that goes on behind the scenes. Our
President, Wendy Baker, our out-going VP, James Hay,
Treasurer Pat Legris. I thank all who donate their
valuable time to create our various publications and
conferences. Our board members work tirelessly to
ensure we are accountable to you. A few positions are
still open and I urge you to contact your Regional Representative if you are interested in volunteering.
Silvia Kindl
J'ai entendu les plaintes des jeunes restaurateurs
relativement à la difficulté de trouver des mentors.
J'estime que la publication d'une entrevue avec un
restaurateur d'expérience dans chaque édition du Bulletin
pourrait être un ajout intéressant à notre périodique qui
donnerait la chance aux jeunes restaurateurs de
questionner un membre bien en vue de notre
communauté à propos de sa carrière.
Ceci n'est qu'un avant-goût des projets en cours. Je
voudrais remercier tous les membres sortants du conseil
pour leur travail soutenu, qui se poursuit en coulisses.,
c'est-à-dire notre présidente Wendy Baker, notre viceprésident James Hay et notre trésorier Pat Legris. Je
remercie également tous ceux qui consacrent une partie
de leur temps à la publication du Bulletin et du Journal et
à l'organisation des congrès. Les membres du conseil
travaillent sans relâche pour faire en sorte que nous vous
rendions des comptes. Il reste quelques postes
disponibles; je vous invite à communiquer avec nous sans
tarder si vous êtes intéressé à faire du bénévolat pour
nous.
Silvia Kindl
9
CAC Board Members 20112012
Membres du conseil de
l'ACCR pour 2011- 2012
President
Présidente
Silvia Kindl
Silvia Kindl
Silvia Kindl graduated from Queen's Art Conservation
in 1990 with a specialization in Paper Conservation.
She worked as Paper conservator at the Canadian
Museum of Civilization until 1995 when she moved to
Montreal to work as conservator at
Canadian Pacific Archives, and later the
Bibliotheque nationale du Quebec. Silvia
ran a successful Paper Conservation
studio in Montreal for over ten years,
serving a varied clientele composed of
museums, archives, universities, galleries,
framers and collectors. During that time
she also taught preservation courses at
College Montmorency, Museum Technologies program in Laval.
Silvia Kindl a obtenu son diplôme en restauration des
œuvres d'art (spécialisé en restauration du papier) de
l'Université Queen's en 1990. Elle a travaillé à titre de
restauratrice des articles en papier au Musée canadien
des civilisations jusqu'en 1995, année où
elle a déménagé à Montréal, où elle a
occupé le poste de restauratrice aux
archives du Canadien Pacifique puis
travaillé à la Bibliothèque nationale du
Québec. Silvia a exploité avec succès son
propre studio de restauration à Montréal
pendant plus de 10 ans, dont la clientèle
variée était composée de musées,
d'archives, d'universités, de galeries,
d'encadreurs et de collectionneurs. Durant
cette période, elle a également enseigné la
préservation dans le cadre du programme
de techniques de muséologie au Collège
Montmorency, à Laval.
In 2007 she returned to Ottawa to work
for the Canadian Museum of Civilization,
this time becoming Head of the Conservation Section. She recently stepped down
to become Paper Conservator for the City
of Ottawa Archives, thanks largely to her
passion for paper.
En 2007, Silvia est retournée au Musée
canadien des civilisations à Ottawa, cette fois
à titre de chef de la restauration. Elle a récemment quitté
son poste pour occuper les fonctions de restauratrice des
articles en papier pour les archives de la ville d'Ottawa, en
raison de sa grande passion pour le papier.
Vice President
Vice-présidente
Jessica Lafrance
Jessica Lafrance
Jessica works as a contract objects and archaeological
conservator in Ottawa and also is presently an operations
employee with the Canada Dance Festival at the National Arts Center. 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
10
Jessica travaille à titre de restauratrice d'objets et
d'artefacts archéologiques à la pige à Ottawa et fait
également partie de l'équipe des opérations
du Festival Danse Canada au Centre
national des Arts. 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. Prior to
the PPGI, (Post Paid Graduate Internship)
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
the Museum of London, the Newport Ship Project, Parks
Canada, and the Canadian Museum of Nature. Jessica
was recently co-chair of the Emerging Conservator
Committee of the CAC, is the program chair for the
upcoming 2012 CAC conference in Peterborough, and
was a member of the programming committee for the
2010 CAC conference.
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 était coprésidente du comité des restaurateurs émergents de l'ACCR, est présidente de la
programmation du congrès 2012 de l'ACCR qui aura lieu à
Peterborough et a fait partie du comité de la
programmation du congrès 2010 de l'ACCR.
Secretary
Secrétaire
Jennifer Mills
Jennifer is a furniture and objects conservator. She
gained nine years experience of conservation and
museum collections work in the United Kingdom, including the achievement of three degrees in
conservation and art history. Her areas of
expertise include French, British and
Canadian furniture history circa 1660 to
1830, preventative conservation for historic
objects and museum collections, collections
management, remedial conservation
treatment of wood, metals, ceramics,
decorative surfaces, historic vehicles,
upholstered seating and cabinet furniture.
Jennifer obtained a first Class Honors
Bachelor of Arts degree in Furniture
Conservation and Restoration at
Buckinghamshire Chilterns University
(High Wycombe, Buckinghamshire, England) in-2005, a
Master of Arts in French and British Decorative Arts and
Historic Interiors at Birkbeck, University of London in
2006, and further pursued post graduate studies at the
University of Lincoln, Lincolnshire where she was
granted Master of Arts in the Conservation of Historic
Objects in 2010.
During her studies, she worked part time as a Conservation Assistant for the National Trust (Kent) and also
completed an internship at the Wallace Collection
(London). Jennifer then worked in the Department of
Prehistory and Europe of the British Museum (20062008) and Augerson Art Conservation (Glasgow) in
2009. Upon her return to Canada in 2009, she volunteered at the Canadian Museum of Science and Technology where she conserved the enameled leather close top
of an American made Spider Phaeton carriage. In
January 2010, Jennifer accepted the position of Objects
Conservator at the Canadian Museum of Civilization in
Gatineau, Quebec.
Jennifer Mills
Jennifer est restauratrice de meubles et d'objets. Elle
possède neuf années d'expérience en restauration et en
gestion des collections muséales au Royaume-Uni, en
plus de détenir trois diplômes en
restauration et histoire de l'art. Ses
domaines de spécialisation comprennent
l'histoire du meuble en France, au
Royaume-Uni et au Canada de 1660 à
1830, la restauration préventive d'objets
historiques et de collections muséales, la
gestion de collections et le traitement
correctif du bois, des métaux, de la
céramique, des surfaces décoratives, des
véhicules historiques, des sièges
rembourrés et des meubles d'ébénisterie.
Jennifer a obtenu son baccalauréat avec
mention très honorable en conservation et
restauration des meubles à l'Université
Buckinghamshire Chilterns (High Wycombe,
Buckinghamshire, Angleterre) en 2002-2005, une maîtrise
en arts décoratifs français et britanniques et intérieurs
historiques à Birkbeck, Université de Londres en 2006, et
a poursuivi des études de troisième cycle à l'Université
de Lincoln, au Lincolnshire, où elle a obtenu une maîtrise
en restauration d'objets historiques en 2010.
Durant ses études, elle a travaillé à temps partiel à titre
d'assistante en restauration au National Trust (Kent) et a
effectué un stage à la Collection Wallace (Londres).
Jennifer a ensuite travaillé au sein du département de
préhistoire et de l'Europe du British Museum (2006-2008)
et chez Augerson Art Conservation (Glasgow) en 2009.
À son retour au Canada en 2009, elle a fait du bénévolat
au Musée des sciences et de la technologie du Canada,
où elle a contribué à la restauration du toit en cuir émaillé
d'une calèche de modèle Spider Phaeton de fabrication
américaine. En janvier 2010, Jennifer a accepté le poste
de restauratrice des objets au Musée canadien des
civilisations, à Gatineau, au Québec.
11
Treasurer
Trésorière
Kyla Ubbink
Kyla Ubbink
Operating a full time Book and Paper Conservation
business from her home since 2005, Kyla Ubbink began
her career as an intern with the Library and Archives
Canada Preservation Services unit in 2000, continuing on
to fulfill contracts for their Conservation
Laboratories. Accredited in 2010, Mrs.
Ubbink provides professional treatment and
consultation services for institutions, galleries, antiquities dealers, collectors, and
researchers. She has been published in the
CAC Journal, co-authoring an article with
Roberta Partridge, as well as in a variety of
genealogy and historical periodicals. A
Preservation Instructor for the Algonquin
College Archives and Records Management
program, Mrs. Ubbink also provides workshops and lectures for community groups
and institutions. Ever an advocate of preservation, Mrs. Ubbink volunteers to accompany the CAC's Marketing kit at local
functions, has on invitation attended several
heritage functions offering free archival preservation
advice to the participants, and has been interviewed
regarding preservation and conservation for both television and radio programs. Kyla Ubbink worked on the
2010 CAC conference, and was Secretary for the
Executive Board for 2010-2011.
Kyla Ubbink, qui exploite sa propre entreprise de
restauration de papier et de livres à domicile depuis 2005,
a amorcé sa carrière comme stagiaire au sein des
services de préservation de Bibliothèque et Archives
Canada en 2000 et a effectué des contrats
pour leurs laboratoires de conservation.
Accréditée en 2010, Mme Ubbink fournit
des traitements et des services de consultation professionnels aux institutions, galeries,
antiquaires, collectionneurs et chercheurs.
Ses articles ont été publiés dans le Journal
de l'ACCR (un article en collaboration avec
Roberta Partridge) ainsi que dans divers
périodiques traitant de généalogie et
d'histoire. Enseignante en préservation au
sein du programme de gestion d'archives et
de documents du Collège Algonquin, Mme
Ubbink donne également des ateliers et des
exposés à l'intention de groupes et
d'institutions communautaires. Madame
Ubbink, grande défenseure de la
préservation, a accompagné bénévolement le kiosque de
promotion de l'ACCR lors de rassemblement locaux, a
également sur invitation participé à divers congrès sur le
patrimoine, où elle a conseillé les participants
gratuitement sur la préservation des archives, et a donné
des entrevues sur la préservation et la conservation tant
à la télévision qu'à la radio. Kyla Ubbink a fait partie du
comité organisateur du congrès 2010 de l'ACCR et a été
secrétaire du conseil d'administration en 2010-2011.
Executive Councillor
Conseillère auprès du bureau
Cindy Colford
Cindy Colford
Cindy Colford is a part-time faculty member in the Arts
and Heritage Programs at Fleming College and a
conservator at the Peterborough Museum
and Archives. Her career in the heritage
field spans more than 10 years, during
which time she has held positions with the
Colonial Williamsburg Foundation,
Harvard University's Peabody Museum of
Archaeology and Ethnology, Parks
Canada Atlantic Service Centre, the
Provincial Museum of Newfoundland and
Labrador, and the Canadian Museum of
Civilization where her work focussed on
both preventive and practical conservation
of cultural materials. Cindy has been
involved with CAC board for more than
four years, as chair of the training committee, executive
Cindy Colford est membre à temps partiel de la faculté des
programmes d'arts et de patrimoine au Collège Fleming et
restauratrice au Musée et archives de
Peterborough. Sa carrière dans le domaine
du patrimoine dure depuis plus de 10 ans,
période durant laquelle elle a occupé des
postes au sein de la Colonial Williamsburg
Foundation, du Musée Peabody
d'archéologie et d'ethnologie de l'Université
Harvard, du centre de services du Canada
atlantique de Parcs Canada, du Musée
provincial de Terre-Neuve-et-Labrador et
du Musée canadien des civilisations, où elle
s'est concentrée sur la conservation
préventive et pratique d'articles culturels.
Cindy fait partie du conseil d'administration
de l'ACCR depuis plus de quatre ans; elle a
12
counsellor and will be co-chairing the 2012 conference
in Peterborough.
occupé les postes de présidente du comité de la formation
et de conseillère auprès du bureau et est également
coprésidente du congrès 2012 de Peterborough.
Conseillère auprès du bureau
Wanda McWilliams
Wanda McWilliams
Wanda McWilliams has been a member of CAC since
1986 and a member of the CAPC since 2003. In 2006
she served on the CAPC Board Executive,
as CAPC-CAC Liaison Officer. 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. Effective August 15th 2011, she will assume
the role of Manager, Conservation and Preservation at
the Canadian Museum of Civilization, Gatineau Quebec.
Wanda McWilliams est membre de l'ACCR depuis 1986 et
membre de l'ACRP depuis 2003. En 2006, elle a fait partie
du conseil d'administration de l'ACRP à titre
d'agente de liaison entre l'ACRP et l'ACCR.
Elle a occupé de nombreux postes dans la
région de la capitale nationale, dans les
secteurs public et privé, à titre de
restauratrice spécialisée dans la restauration
et la préservation d'ouvrages historiques et
contemporains sur papier. Plus récemment,
elle a décidé de se perfectionner en
préservation des ressources culturelles en
acceptant des contrats de gestion des
collections et en participant au traitement
des collections faisant partie d'événements publics, comme
les prêts ou les expositions tant à l'échelle nationale
qu'internationale. Depuis le 15 août 2011, elle occupe le
poste de chef de la restauration au Musée canadien des
civilisations, à Gatineau, au Québec.
Conseiller auprès du bureau
Andrew Todd
Andrew Todd
Andrew Todd is a conservator in private practice based
in Vancouver, BC, Canada. He is a specialist in the
conservation of fine art objects, museum
artifacts, sculpture and outdoor monuments.
He has been in private practice for 25 years
and has completed treatments for monumental works in Alaska, Alberta, California,
Washington State and British Columbia.
Recent projects include conservation services for the Vancouver International
Airport, Vancouver Museum and the
Burnaby Village Museum. He has been
published by the Getty Conservation Institute
and the Canadian Conservation Institute.
Before establishing his private conservation
practice he spent seven years with Canada's
two major conservation facilities: the Conservation Division of Parks Canada and the
Canadian Conservation Institute in Ottawa.
Andrew Todd est un restaurateur en pratique privée
située à Vancouver, en Colombie-Britannique, au
Canada. Il est spécialisé dans la restauration
des objets d'art, des artefacts muséaux, des
sculptures et des monuments extérieurs. En
pratique privée depuis 25 ans, il a assuré le
traitement de monuments en Alaska, en
Alberta, en Californie, dans l'État de Washington et en Colombie-Britannique. Parmi
ses récents projets, il a fourni des services
de restauration à l'aéroport international de
Vancouver, au Musée de Vancouver et au
Musée de Burnaby Village. Ses articles ont
été publiés par le Getty Conservation
Institute et l'Institut canadien de conservation. Avant de se lancer en pratique privée, il
a passé plusieurs années au sein des deux
principales institutions de conservation du
Canada : la division de la conservation de Parcs Canada
et l'Institut canadien de conservation à Ottawa.
13
Western Regional Councillor
Conseiller régional de l'ouest
David Daley
David Daley
David has been the Conservation Advisor at the University of Calgary Archives and Special Collections since
2004. He has worked at 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. 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.
David occupe le poste de conseiller en conservation aux
archives et collections spéciales de l'Université de
Calgary depuis 2004. Il a travaillé au Musée
des sciences et de la technologie du Canada,
au Musée national de l'aviation, au Musée de
l'agriculture du Canada, au sein de la division
du patrimoine de la ville de Toronto et à la
Kitchener-Waterloo Art Gallery. Il est un des
cofondateurs des Dufferin County Museum
and Archives (Ontario) et a effectué un
stage à l'Institut canadien de conservation
ainsi qu'au Musée McCord d'histoire
canadienne. Après avoir terminé la première
année du programme de techniques
muséales du Collège Algonquin, il est passé
au programme de conservation et de gestion
des collections du collège Sir Sandford
Fleming, où il a obtenu son diplôme en 1998.
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.
Michelle est restauratrice d'objets d'art en pratique privée.
Elle a obtenu son accréditation (spécialisée en tableaux) de
l'ACRP en 2008. Elle détient des diplômes de
l'Université de Regina, notamment un
baccalauréat ès arts en histoire de l'art (1990),
un baccalauréat en beaux-arts avec distinction
en gravure d'art (1994) et une maîtrise en
conservation des objets d'art (peinture) de
l'Université Queen's (1997). Elle a effectué des
stages au Musée des beaux-arts du Canada et
à la Winnipeg Art Gallery. Michelle est en
pratique privée depuis 1998. Elle traite une
grande variété d'articles et offre des services
de conservation de tableaux, de murales, de
cadres, de sculptures en pierre de savon et
d'objets peints. En 2008, en collaboration avec
sa collègue restauratrice Julia Landry, elle a
cofondé Gallway Art Consulting. Elle en est à sa deuxième
année en tant que conseillère régionale de l'est.
14
CAC /CAPC Liaison
Agente de liaison entre l'ACCR et l'ACRP
Julia Landry
Julia Landry
Julia is a paper conservator in private practice. She
obtained her Masters in Conservation from Camberwell
College of Art in London, England where she specialized
in the conservation of library and archival
material. Following graduation, she interned for three months in the India
Office's conservation studio, a division of
the British Library's conservation department. Since her return to Canada in 1994,
Julia worked on contract for the Council of
Nova Scotia Archives, before going full
time into private practice in 1997 as a
partner in Leaf by Leaf Book & Paper
Conservation Services. In 2008 she
formed an additional consulting business,
Gallway Art Consulting, with fine arts
conservator, Michelle Gallinger. She has
worked for a wide variety of institutional and private
clients on diverse projects ranging from hand painted
Oriental wallpaper to an historic collection of telegrams.
Julia has served on the CAC Board for several terms as
eastern regional councillor. She is now the liaison for
both CAC and CAPC and she is one of those working to
develop a strategy for the merger of the two organizations.
Julia est une restauratrice d'articles en papier en pratique
privée. Elle a obtenu sa maîtrise en restauration du
Camberwell College of Art de Londres, en Angleterre, où
elle s'est spécialisée dans la restauration de
documents d'archives et de bibliothèque.
Après l'obtention de son diplôme, elle a
effectué un stage de trois mois au sein du
studio de restauration de l'India Office,
division du département de restauration de
la British Library. Depuis son retour au
Canada en 1994, Julia a travaillé à contrat
pour les Council of Nova Scotia Archives
avant de se lancer à temps plein en pratique
privée en 1997 en tant que partenaire dans
l'entreprise Leaf by Leaf Book & Paper
Conservation Services. En 2008, elle a
cofondé une autre firme de servicesconseils, Gallway Art Consulting, en compagnie de la
restauratrice d'objets d'art, Michelle Gallinger. Julia a
travaillé pour un grand nombre de clients institutionnels et
privés à divers projets allant de papiers peints orientaux
faits à la main à une collection de télégrammes
historiques. Julia a rempli plusieurs mandats au sein du
conseil de l'ACCR à titre de conseillère régionale de
l'est. Elle agit désormais à titre d'agente de liaison entre
l'ACCR et l'ACRP et fait partie des personnes qui
travaillent actuellement à l'élaboration d'une stratégie en
vue de l'éventuelle fusion des deux organismes.
15
38th Annual CAC Conference
38e Congrès Annuel de l'ACCR
Peterborough, Ontario
Workshop - 22 to 23 May 2012
Conference - 24 to 26 May 2012
Peterborough (Ontario)
Atelier - 22 et 23 mai
Congrès - du 24 au 26 mai
Co-Chairs, Cindy Colford ([email protected]) and
Gayle McIntyre ([email protected])
Coprésidentes : Cindy Colford
([email protected]) et Gayle McIntyre
([email protected])
The Canadian Association for Conservation of Cultural
Property (CAC) will hold its 38th Annual Conference
and Workshop at the Holiday Inn in downtown
Peterborough, Ontario, 22 to 26 May 2012.
Workshops
A two-day workshop, Preservation Unplugged, will
explore new trends in preventive conservation with an
emphasis on facilities and will be held 22 to 23 May
2012.
A one-day workshop on basket-making will be held at the
Curve Lake Cultural Centre on 23 May 2012.
Conference - Call for Papers
The theme for the Conference, to be held from 24 to 26
May 2012, is the Power of Preservation. Preservation
aspects that highlight the significance, value, advocacy,
and interpret the tangible and intangible aspects of what
we do as preservation specialists in a wide scope of
materials and disciplines.
In additional to formal papers (20 to 30 minutes in
length), submission for posters and ignite sessions is also
welcomed.
Abstract Format: Abstracts for should be between 300
and 500 words, and must include: title of presentation,
names of all contributors, mailing address, telephone
number, fax number, and e-mail of contact person, and
name of presenting person(s).
Submit abstracts in either French or English by email
attachment (MS Word, double-spaced, 12 point, Arial
font) and indicate "CALL FOR PAPERS - CAC 2012" in
the subject line by 31 January 2012 to:
Jessica Lafrance
2012 CAC Conference Program Chair
[email protected]
A selection committee will review abstracts and notify
speakers as soon as possible. Participation from stu16
L'Association canadienne pour la conservation et la
restauration (ACCR) tiendra son 38e congrès annuel à
Peterborough, en Ontario, du 22 au 26 mai 2012.
Le congrès annuel 2012 aura lieu au Holiday Inn Waterfront, au centre-ville de Peterborough, en Ontario.
Ateliers
Un atelier de deux jours, intitulé Preservation Unplugged, permettra aux participants d'explorer les
dernières tendances en conservation préventive, et plus
particulièrement en ce qui concerne les installations. Cet
atelier aura lieu les 22 et 23 mai.
De plus, un atelier d'un jour sur la fabrication de paniers
sera offert au centre culturel Curve Lake le 23 mai.
Congrès - appel de présentations
Le congrès, qui aura lieu du 24 au 26 mai, aura pour
thème Le pouvoir de la préservation et abordera les
aspects de la préservation qui mettent en évidence
l'importance et la valeur de ce que nous faisons, se
penchera sur la promotion de notre profession et
interprétera les résultats tangibles et intangibles de notre
travail en tant que spécialistes de la préservation. tout en
tenant compte d'une grande variété de matières et de
disciplines.
En plus des présentations complètes (d'une durée de 20 à
30 minutes), les affiches et les présentations de type "
ignite " sont également acceptés.
Format des résumés : Les résumés doivent faire de 300 à
500 mots et doivent comprendre le titre de la
présentation, les noms de tous les collaborateurs,
l'adresse postale, le numéro de téléphone, le numéro de
télécopieur et l'adresse de courriel de la personneressource ainsi que les noms des présentateurs.
Veuillez nous faire parvenir vos résumés en français ou
en anglais par courriel (MS Word, double interligne, Arial
12 points) et indiquer " APPEL DE PRÉSENTATIONS CAC Bulletin de l’ACCR Vol. 36 No. 2 September 2011 septembre
dents, new members and professionals from allied fields
is encouraged.
ACCR 2012 " dans la ligne d'objet. Le tout doit parvenir
au plus tard le 31 janvier 2012 à :
Additional Conference and Workshop updates will be
posted on the CAC website (www.cac-accr.ca).
Jessica Lafrance
Présidente du programme du congrès 2012 de l'ACCR
[email protected]
Un comité de sélection évaluera les résumés et avertira
les conférenciers retenus le plus tôt possible. Nous
invitons les étudiants, les nouveaux membres et les
professionnels de domaines connexes à participer.
De plus amples renseignements sur le congrès et les
ateliers seront publiés sur le site de l'ACCR (www.cacaccr.ca).
17
The Merger Committee
Explained
Le comité de fusion ACCR/
ACRP : compte-rendu
At the Winnipeg AGM, there was a brief report from the
Merger Committee and, for the benefit of those members who
were not there, we have prepared this short article to explain
who we are and what we are working on.
Lors de l'assemblée générale tenue à Winnipeg, le comité de
fusion a présenté un bref rapport. Pour nos membres qui
n'étaient pas présents à cette assemblée, nous avons rédigé ce
court article afin d'expliquer qui nous sommes et ce que nous
faisons.
Roughly two years ago, the idea of a merger between the CAC
and the CAPC reappeared as an item for discussion on a CAC
Board meeting agenda. As the liaison between the two
organizations, I was asked to take it to the next CAPC Board
meeting and see how it was received. Both organizations felt
that perhaps it was something to reexamine, and it became an
item for discussion at a subsequent joint meeting where it was
decided to take a look at the studies that had been done before
and see where they led us. Not surprisingly, this resulted in
the formation of a committee and a call for volunteers from
both groups. The resulting Merger Committee consists of
myself as Board liaison, Andrew Todd (CAC) and Marianne
Webb (CAPC).
In accordance with our provisional mandate, we reviewed the
studies that had gone before, as well as studying other
organizations who offer accreditation and general membership
within the framework of the same organization, like ICON in the
UK . It quickly became apparent that if we were to launch yet
another study of the related issues, we would simply be
reinventing the wheel and that seemed like a waste of
everyone's time. The initial studies were comprehensive and
well researched and their findings clearly documented. It
seemed to make more sense to build on them rather than repeat
them. Accordingly, we drafted an official mandate for ourselves and received approval for it from the Boards of both
organizations.
Merger Committee Mandate
To review existing models and discussion papers concerning the potential organizational joining of CAC and CAPC
and develop a procedural methodology.
Earlier committees found that the time was not right for the
joining of the two groups, however, we feel that the situation
has changed in the intervening years as have the organizations
themselves. Issues such as the scarcity of resources, both
human and financial, and the duplication of effort by the two
bodies suggest that this is a propitious time to re-evaluate the
situation. A merger is a delicate and complex proposition and
involves much more than one organization being absorbed or
taken over by the other. Neither is it something to be apprehensive about, because it simply cannot occur without the
support of the majority of both membership groups.
The merger committee has discussed the process in detail and
has finally decided to start at the end and work out what a
merger of the two groups might look like. Once we are agreed
about where we want to go, we can work out the most straight18
Il y a environ deux ans, l'idée d'une fusion entre l'ACCR et
l'ACRP a refait surface dans l'ordre du jour d'une réunion du
conseil d'administration de l'ACCR. Comme j'étais agente de
liaison entre les deux organismes, on m'a demandé de présenter
l'idée lors d'une réunion du conseil d'administration de l'ACRP
afin de voir comment elle serait accueillie. Comme les deux
organismes estimaient qu'une fusion était une éventualité à
réexaminer, l'idée a été ajoutée à l'ordre du jour d'une réunion
conjointe subséquente. On a alors décidé de revoir les études
qui avaient été faites dans le passé afin de voir où cela nous
mènerait. Sans surprise, un comité a été formé pour s'en
occuper et on a demandé la participation bénévole des
membres des deux organismes. Ce comité, le comité de fusion,
est constitué de moi-même (agente de liaison), d'Andrew Todd
(ACCR) et de Marianne Webb (ACRP).
Conformément à notre mandat provisoire, nous avons
réexaminé les études faites dans le passé, tout en analysant
d'autres organismes offrant l'accréditation et l'affiliation au sein
d'une même organisation, comme ICON au Royaume-Uni. Nous
nous sommes rapidement rendu compte que si nous amorcions
une autre étude des questions relatives à une éventuelle
fusion, nous ne ferions que réinventer la roue, ce qui nous
apparaissait comme une perte de temps pour tout le monde.
Les études initiales étaient complètes et approfondies et leurs
conclusions étaient largement documentées. Il nous semblait
plus logique d'avancer en nous basant sur ces études que de
les refaire du début. Ainsi, nous avons rédigé un mandat
officiel pour le comité et reçu l'approbation des conseils des
deux organismes pour aller de l'avant.
Mandat du comité de fusion
Revoir les modèles existants et les documents de travail
concernant une éventuelle fusion entre l'ACCR et l'ACRP et
élaborer la méthodologie permettant de réaliser cette fusion.
Les comités qui nous ont précédés ont tous déterminé que le
moment n'était pas idéal pour fusionner les deux organismes.
Nous estimons cependant que la situation a changé depuis ce
temps, tout comme les organismes. Des problèmes tels que la
rareté des ressources, tant humaines que financières, et la
duplication des initiatives par les deux organismes nous
laissent croire que le temps est venu de réévaluer la situation.
Une fusion est une opération délicate et complexe qui va bien
au-delà d'un organisme qui se fait simplement absorber ou
forward way of getting there. Neither organization will retain
100% of its current structure, that is neither possible nor
practical. There will be gains and losses on both sides but we
hope that the finished product will emerge as a strong viable
body, greater than the sum of its parts.
Our committee is a small one, but it is not our intention to
operate in a vacuum. We report regularly to the boards of both
the CAC and the CAPC and from time to time we will be
publishing progress reports in The Bulletin. As members of
one or both organizations, your thoughts and ideas are
important to the process. If you have points that you would
like the committee to consider, or you simply have a question,
please feel free to send us an e-mail. Your concerns cannot be
addressed or considered if we don't know what they are. My
e-mail address is [email protected]. Your message will
receive an acknowledgement and will be circulated to the other
committee members.
Julia M. Landry
CAC-CAPC Liaison
contrôler par un autre. Ce n'est pas non plus quelque chose
qu'il faut appréhender, car elle ne pourra jamais se réaliser sans
le soutien de la majorité des membres des deux groupes.
Le comité de fusion s'est penché sur le processus et a
finalement décidé d'aborder le problème par la fin en
déterminant à quoi une fusion entre les groupes ressemblerait.
Une fois que nous nous sommes entendus sur ce que nous
voulons atteindre, nous pouvons établir la façon la plus directe
d'y parvenir. Aucun des deux organismes ne pourra conserver
sa structure actuelle dans son intégralité, car ce ne serait ni
possible, ni pratique. Il y aura des gains et des pertes des deux
côtés, mais nous espérons que le résultat final donnera un
organisme fort et durable, plus grand que la somme de ses
parties.
Notre comité est petit, mais nous ne comptons pas évoluer en
vase clos. Nous rendons régulièrement des comptes tant à
l'ACCR qu'à l'ACRP et, de temps en temps, nous publierons
des mises à jour dans le Bulletin. À titre de membre d'une ou
des deux organisations, vos commentaires et suggestions sont
très importants dans le processus. Si vous avez des idées à
soumettre au comité ou si vous avez une question à nous
poser, n'hésitez pas à nous envoyer un courriel. Nous ne
pouvons pas répondre à vos questions ou tenir compte de vos
idées si nous ne les connaissons pas. Écrivez-moi à :
[email protected]. J'accuserai réception de votre
message et le transférerai aux autres membres du comité.
Julia M. Landry
agente de liaison entre l'ACCR et l'ACRP
CAC Nationwide Survey of Conservators
Watch out for a link to the nationwide survey of conservators that will be on our CAC website soon. Just click on
the link surveymonkey.com/s/CAC-ACCR and use the password "conservation". For those of you who do not
have access to a computer, or share a computer, please contact us and we will send a paper version to you. The
survey will run until December 31, perhaps longer, depending on the response. There will be further information
and instructions on our website. We hope that you will all participate!
Sondage national de l'ACCR sur les conservateurs / restaurateurs
Surveillez bien le lien au sujet d'un sondage à l'échelle nationale sur les conservateurs / restaurateurs; lequel sera
prochainement sur notre site Web de l'ACCR. Cliquez simplement sur le lien "surveymonkey.com/s/CAC-ACCR"
et utilisez le mot de passe "conservation". Pour ceux qui n'auraient pas accès à un ordinateur , ou qui n'auraient pas
l'occasion d'en partager un, veuillez s'il vous plaît nous contacter et nous vous enverrons une copie papier. Le
sondage sera en ligne jusqu'au 31 décembre, peut-être un peu plus dépendant du taux de participation. Il y aura
davantage d'informations et d'instructions sur notre site Web. Nous espérons que vous participerez tous!
19
CAC-Emerging
Conservators Committee
Comité des restaurateurs
émergents
Jessica Lafrance has stepped down from her position as
Co-chair of CAC-ECC to pursue her new position as
Vice President of the CAC. Congratulations Jessica! In
her place, Meaghan Monaghan will be joining Elspeth
Jordan as Co-chairs for the remainder of the 2010/11
term. Meaghan Monaghan graduated from Queen's with
a Master of Art Conservation in 2010 and she is currently a Painting Conservation Fellow at the Yale University Art Gallery, working with a team to conserve a series
of 19th-century American decorative murals.
Jessica Lafrance a quitté ses fonctions de coprésidente
du CRE afin d'occuper celles de vice-présidente de
l'ACCR. Félicitations Jessica! Pour la remplacer,
Meaghan Monaghan se joindra à Elspeth Jordan à titre
de coprésidente pour le reste du mandat 2010-2011.
Meaghan Monaghan a obtenu sa maîtrise en conservation des œuvres d'art de l'Université Queen's en 2010 et
est actuellement boursière en conservation de tableaux à
la galerie d'art de l'Université Yale, où elle travaille avec
une équipe à la restauration d'une série de murales
décoratives américaines du 19e siècle.
We are very happy to say that we are in the process of
becoming a permanent committee within the CAC. Our
main goals in the recent months have been to increase
awareness of our committee and inform emerging
conservators of the benefits of CAC membership. A
CAC-ECC representative visited each of the training
programs, Algonquin, Fleming, and Queen's, to provide
information about CAC membership and we will continue
to do this every fall. In May committee volunteers
Stephanie Porto and Jennifer Roberts partnered with
AIC's Emerging Conservation Professionals Network to
give a short talk and present a poster about CAC-ECC at
the ANAGPIC Student Conference in Delaware. Finally,
the CAC-ECC Meet & Greet at the conference in
Winnipeg was a huge success. Current students and
recent graduates were joined by many enthusiastic
established conservators for red velvet cupcakes, ice
cream floats, wine, great conversation and networking.
Thank you so much to all those who participated!
Two projects currently in the works are another CACECC Meet & Greet at the CCI Adhesives Symposium in
Ottawa this October and the creation of The Emerging
Conservators Survival Guide.
Call for Submission for The Emerging Conservators
Survival Guide:
Does the thought of forms, flights and customs send you
into a fury? You can relax! Work is starting on The
Emerging Conservators Survival Guide! This guide
will provide information so that you can boldly go where
others have gone before. We need your tips, tricks, and
horror stories related to studying, undertaking internships
and working abroad. This guide will be published as a
digital document, and as a pamphlet for dissemination
throughout the Canadian conservation community. Please
send your information or questions to
20
Nous sommes très heureux d'annoncer que le comité est
en passe de devenir un comité permanent de l'ACCR.
Dans les derniers mois, nos principaux objectifs ont été
de faire connaître notre comité et d'informer les restaurateurs émergents des avantages d'une adhésion à
l'ACCR. Un représentant du CRE a rencontré les
étudiants de chacun des programmes de formation
(Collège Algonquin, Collège Fleming et Université
Queen's) pour diffuser des renseignements à propos de
l'adhésion à l'ACCR. Nous répéterons l'expérience
chaque automne. En mai, les bénévoles Stephanie Porto
et Jennifer Roberts se sont alliées au Emerging Conservation Professionals Network de l'AIC pour donner une
courte présentation et présenter une affiche à propos du
CRE de l'ACCR au congrès des étudiants de
l'ANAGPIC, au Delaware. Aussi, le cocktail de
bienvenue organisé par le CRE lors du congrès de
l'ACCR à Winnipeg a été un grand succès. Les étudiants
et les récents diplômés ont été rejoints par des
conservateurs-restaurateurs établis et enthousiastes avec
au programme des petits gâteaux rouge velours, des
flotteurs glacés, du vin, de captivantes conversations et
de belles occasions de réseautage. Merci à tous les
participants!
Parmi nos autres projets en cours, notons un autre
cocktail de bienvenue du CRE de l'ACCR qui aura lieu
dans le cadre du Symposium sur les adhésifs de l'ICC à
Ottawa en octobre et la création du Guide de survie du
restaurateur émergent.
Invitation à nous faire parvenir du contenu pour le Guide
de survie du restaurateur émergent :
La simple idée de remplir des formulaires, de prendre
l'avion et de passer les douanes vous rend nerveux? Vous
pouvez relaxer! Nous amorçons la rédaction du Guide
[email protected], and indicate if you
would like to remain anonymous.
We look forward to hearing from you!
de survie du restaurateur émergent. Ce guide
contiendra tout ce que vous devez savoir pour que vous
puissiez vous rendre vaillamment où d'autres sont allés
auparavant. Nous voudrions connaître vos trucs, vos
conseils et vos histoires d'horreur relativement aux
études, aux stages et aux emplois à l'étranger. Ce guide
sera publié sur support électronique et en version papier
en vue d'une diffusion aux quatre coins de la
communauté des restaurateurs canadiens. Veuillez nos
envoyer vos témoignages ou vos questions à l'adresse
[email protected] en indiquant si vous
désirez rester anonyme.
Nous avons hâte de vous lire!
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 November 1, 2011. Send submissions to [email protected], phone
(613) 998-3721, fax (613) 998-4721.
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 novembre 2011. Veuillez envoyer vos articles à [email protected],
téléphone (613) 998-3721, télécopieur (613) 998-4721.
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.
21
Charles Mervyn Ruggles
2011 Award
Prix Charles Mervyn
Ruggles 2011
Recipients of this award will be celebrated for their
contribution and achievement in fine art conservation
science, treatment, training and/or education, for their
development work in a field of fine art 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, la formation en traitement
ou l'apprentissage en matière de restauration d'œuvres
d'art ainsi que les efforts qu'ils ont consacrés au
développement du domaine de la restauration d'œuvres
d'art 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.
Award Recipient Laszlo Cser
Lauréat Laszlo Cser
Laszlo Cser began fixing things as part of his
job description as a delivery driver for an
oriental art gallery in 1975, which led to an ever
expanding exploration of both materials and
treatments of objects for antiquarians and art
galleries in Montreal. Self training was pursued
alongside advice from craftsmen, product
manufacturers, and skilled amateurs, in conjunction with the study of the two available
books at the time about practical conservation,
Harold Plenderleith's The Conservation of
Antiquities and Works of Art and Carl Dame
Clarke's Pictures, Their Preservation and
Restoration. Returning to Toronto in 1978
provided new horizons and restrained adventures with the cleaning of paintings.
Laszlo Cser commence à retoucher des objets
dans le cadre de ses fonctions de chauffeur et
livreur d'une galerie d'art oriental en 1975, ce qui
le mène à approfondir l'exploration des
matériaux et des traitements pour des
antiquaires et des galeries d'art de la région de
Montréal. Laszlo assure son autoformation tout
en suivant les conseils d'artisans, de fabricants
de produits et d'amateurs talentueux ainsi qu'en
étudiant les deux seuls livres disponibles à
l'époque traitant de la pratique de la
restauration, The Conservation of Antiquities
and Works of Art, d'Harold Plenderleith, et
Pictures, Their Preservation and Restoration,
de Carl Dame Clarke. Son retour à Toronto en
1978 lui ouvre de nouvelles portes dans le
domaine du nettoyage de tableaux.
The formative early years were at times akin to wandering in
the desert, being fully engaged and present with study and
practice, but surrounded by a cloud of unknowing and
unaware of possible directions or eventual destinations.
Having faith in his unfolding abilities and guided by the
experiences offered through successes and failures, it was not
until 1985 that he attended his first IIC-CG conference in
Halifax, where he met a community of professionals committed
to conservation in Canada. He had survived the impatient
expectations and peregrinations of youth to begin a career as a
conservator.
Restorart Inc. was incorporated in 1982 to provide conservation and restoration services for the private, public, commercial, institutional, and corporate sectors. Conservator's
Products Company (Canada) Ltd. was established in 1987 for
the manufacture, supply, and distribution of high quality
conservation products, specifically Gustav Berger's Beva®371
and related products. In 1989 a fully equipped and climate
controlled 1800 square foot studio / workshop facility was set
up and continues at this location. The Conservator's
StretcherTM was developed and marketed in the early 1990s as
a modified traditional wooden stretcher system designed with
conservation attributes and made from renewable resources.
22
Ses premières années d'apprentissage peuvent parfois lui
sembler comme une longue traversée du désert, étant
pleinement engagé dans l'étude et la pratique, mais entouré
d'un nuage d'incertitude causé par l'absence de direction et de
destination. Sûr des compétences qu'il est en train d'acquérir et
guidé par ses succès et ses échecs, ce n'est qu'en 1985 qu'il
assiste à son premier congrès de l'IIC-CG à Halifax, où il
rencontre un réseau de professionnels dédiés à la restauration
au Canada. Il avait survécu aux attentes et pérégrinations
impatientes de la jeunesse pour enfin amorcer une carrière en
restauration.
Restorart Inc. voit le jour en 1982 et offre des services de
conservation et de restauration aux secteurs privé, public,
commercial, institutionnel et des entreprises. Conservator's
Products Company (Canada) Ltd. est fondée en 1987 et assure
la fabrication, l'approvisionnement et la distribution de
produits de restauration de haute qualité, notamment le
Beva®371 de Gustav Berger et des produits connexes. En 1989,
un studio et atelier de 170 m2 entièrement équipé et à ambiance
contrôlée est ouvert; Laszlo y travaille toujours. Au début des
années 1990, Laszlo conçoit et lance sur le marché le
Conservator's StretcherTM, système de châssis traditionnel
Conservator's WaxTM was formulated in the mid 1990s and
has been distributed nationally and abroad since the late
1990s.
Accredited in 1994 as a Conservator specializing in paintings
by the CAPC (Canadian Association of Professional Conservators), and as a Professional Associate by the AIC (American
Institute of Conservation) in 1995, he is also a Professional
Member of the CAHP (Canadian Association of Heritage
Professionals). He has maintained memberships since the
1980s in the CAC (Canadian Association for Conservation), IIC
(International Institute of Conservation), ICOM (International
Council of Museums), and the APT (Association for Preservation Technology). He has given numerous presentations to the
profession, as well as talks and lectures to the public and
interested groups to promote conservation awareness.
Internships have been made available to 9 candidates since
1994.
The practice of bench conservation is often a solitary pursuit
but is not carried out in isolation. Many take part in this
continuum, and there are many to thank: parents, family,
mentors, friends, colleagues, team members, clients, life
teachers both willing and reluctant, fellow passengers, and
strangers. Special thanks is offered to a talented and loyal
friend and associate, Dragan Jankovic, who has worked with
him in studio and in situ since 1989.
modifié en bois conçu en tenant compte de plusieurs aspects
liés à la restauration et fait de matières renouvelables. Le
produit Conservator's WaxTM est mis au point dans les
années 1990 et est distribué au pays comme à l'étranger depuis
la fin des années 1990.
Accrédité en 1994 en tant que restaurateur spécialisé en
tableaux par l'ACRP (Association canadienne des restaurateurs
professionnels) et à titre de professionnel qualifié par l'AIC
(American Institute of Conservation) en 1995, il est également
membre professionnel de l'ACECP (Association canadienne
d'experts-conseils en patrimoine). Laszlo est membre des
associations suivantes depuis les années 1980 : ACCR
(Association canadienne pour la conservation et la
restauration des biens culturels), IIC (Institut international
pour la conservation), ICOM (Conseil international des
musées) et APT (Association pour la préservation et ses
techniques). Laszlo a fait un grand nombre de présentations
dans le domaine, en plus de participer à des discussions et à
des conférences adressées au public et aux groupes intéressés
à faire la promotion du domaine de la restauration. Depuis 1994,
son entreprise a offert neuf stages à divers candidats.
La pratique de la restauration est souvent un travail solitaire,
mais ne peut se faire dans l'isolement complet. Un grand
nombre de personnes ont contribué au voyage de Laszlo et
nombreux sont ceux qu'il désire remercier : ses parents, les
membres de sa famille, ses mentors, ses amis, ses collègues, les
membres de son équipe, ses clients, ceux qui lui ont appris la
vie (volontairement ou non), les passagers, comme lui, et les
étrangers. Il désire également remercier tout particulièrement
son grand ami et talentueux associé, Dragan Jankovic, avec qui
il travaille dans son studio et en dehors depuis 1989.
23
Emerging Conservator
2011 Award
Prix du restaurateur
émergent 2011
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.
En reconnaissance d'un effort et d'une réussite hors du
commun pendant des études à temps plein dans un
programme canadien de formation en restauration,
illustrés par d'excellents résultats scolaires, une contribution au domaine de la restauration, du leadership et la
promotion des principes et des idéaux exprimés dans le
Code de déontologie et guide du praticien de l'ACCR et
de l'ACRP.
Award Recipient Tessa Thomas
Lauréate Tessa Thomas
Tessa Thomas is currently a second year student in the
Master of Art Conservation Program at Queen's University specializing in the conservation of works
of art on paper. Tessa completed her
undergraduate degree in Art History, with a
minor in Chemistry, at Winthrop University
located in Rock Hill, South Carolina. This
year Tessa researched the effects of mounting contemporary ink jet prints to rigid
supports and presented the poster for her
research at the Association of North American Graduate Programs in the Conservation
of Cultural Property (ANAGPIC) 37th
Annual Student Conference. Last summer
Tessa completed an internship at the Art
Gallery of New South Wales in Sydney,
Australia, where she completed conservation
treatments of works of art on paper from the
gallery's permanent collection, including
Australian, European and Asian prints,
drawings and watercolours. This summer
Tessa will be completing an internship at the
Royal Ontario Museum in Toronto.
Tessa Thomas est étudiante de deuxième année à la
maîtrise en restauration d'œuvres d'art de l'Université
Queen's et se spécialise dans la
restauration des œuvres sur papier. Tessa
a obtenu son diplôme de premier cycle en
histoire de l'art, incluant un mineur en
chimie, à l'Université Winthrop de Rock
Hill, en Caroline du Sud. Cette année,
Tessa a effectué des recherches portant
sur le montage d'estampes
contemporaines imprimées au jet d'encre
sur des supports rigides et a présenté une
affichée illustrant les résultats de cette
recherche au 37e congrès étudiant
annuel de l'Association of North American Graduate Programs in the Conservation of Cultural Property (ANAGPIC).
L'été dernier, Tessa a terminé un stage à
la Art Gallery of New South Wales de
Sydney, en Australie, où elle a réalisé le
traitement d'œuvres sur papier de la
collection permanente du musée,
notamment des estampes, dessins et
aquarelles d'artistes australiens, européens et asiatiques.
Cet été, Tessa fera un stage au Musée royal de l'Ontario
à Toronto.
24
2011 Grants
Bourses 2011
Eighteen CAC members received Grants to attend the
2011 Annual Conference and/or Workshop. This is more
than double the usual number of grants awarded in a
single year due to the surplus created by the success of
the 2010 Conference and Workshop. Congratulations to
the Ottawa Committee! The following grants were
awarded:
Dix-huit membres de l'ACCR ont reçu des bourses pour
assister au congrès annuel 2011. Cela représente plus du
double des bourses habituellement versées par année. Ce
surplus s'explique par le grand succès du congrès 2010.
Félicitations au comité d'organisation du congrès
d'Ottawa! Voici la liste des bourses accordées :
Name
Dorothy McCord
Joanna McMann
Marianne Webb
Elizabeth Boyce
Brenda Smith
Crystal Maitland
Heather Dumka
Silvia Kindl
Ian Hodkinson
Cindy Colford
Bonnie McLean
Kendrie Richardson
Dee Stubbs-Lee
Iona McCraith
David Daley
Megan McIntosh
Christina Prokopchuk
Grant
$400.00
$800.00
$800.00
$500.00
$600.00
$1100.00
$600.00
$600.00
$800.00
$600.00
$400.00
$600.00
$1100.00
$600.00
$500.00
$500.00
$700.00
Additionally, as a result of the generosity of retiring
conservation professional, Michael Harrington, the CAC
was able to offer the "Pass The Torch Award" to an
emerging conservator. Congratulations to the successful
applicant,
Nom
Dorothy McCord
Joanna McMann
Marianne Webb
Elizabeth Boyce
Brenda Smith
Crystal Maitland
Heather Dumka
Silvia Kindl
Ian Hodkinson
Cindy Colford
Bonnie McLean
Kendrie Richardson
Dee Stubbs-Lee
Iona McCraith
David Daley
Megan McIntosh
Christina Prokopchuk
Par ailleurs, grâce à la générosité du restaurateur
Michael Harrington, qui vient de prendre sa retraite,
l'ACCR a été en mesure de remettre la bourse " Passer
le flambeau " à un conservateur émergent. Félicitations à
la lauréate :
Meaghan Monaghan
Meaghan Monaghan
Bourse
400 $
800 $
800 $
500 $
600 $
1 100 $
600 $
600 $
800 $
600 $
400 $
600 $
1 100 $
600 $
500 $
500 $
700 $
700 $
$700.00
A single $2500 Training Grant has so far been awarded
in 2011, to Elisabeth Czerwinski, for Suction Table
Workshop For Treatment of Paper and Textiles,
presented by Rosaleen Hill at the UBC Museum of
Anthropology on September 27-28, 2011. 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 2011. Elle a été accordée à Elisabeth
Czerwinski, en vue de participer à l'atelier de traitement
des papiers et des textiles sur table aspirante présenté
par Rosaleen Hill au Musée d'anthropologie de
l'Université de Colombie-Britannique les 27 et 28
septembre 2011. Nous désirons rappeler à nos membres
que les demandes de bourses de formation sont
acceptées toute l'année.
25
2012 Grants and Awards
Prix et bourses 2012
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.
Call for nominations:
Emerging Conservator Award
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.
Recipients of the 2012 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.
Grants
Revisions have been made to the CAC Grants program
for 2012. Details of the new program and application
forms are available on the CAC website or hard copies
may be requested from the CAC office.
In 2012, thirteen individual Professional Development
Grants will be offered to the membership. This includes
the original eight Conference Grants totaling up to $5,500
to assist in attending the CAC Conference and/or
Workshop. Additionally, there will be five Professional
Development Grants of up to $500 each, intended to
support CAC members with travel, accommodations, and
26
Appel de mises en candidature :
Prix du restaurateur émergent
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.
Les noms des lauréats du prix Charles Mervyn Ruggles
et du prix du restaurateur émergent 2012 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.
Bourses
L'ACCR a revu son programme de bourses pour 2012.
Pour de plus amples renseignements sur le nouveau
programme 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.
registration costs to attend a conference, workshop or
seminar in their field of expertise. Deadlines for the
Conference Grants will be January 31 and for the
remaining Professional Development Grants, January 31
and July 31. Up to 3 $500 grants will be offered in the
first half of the year, and the remaining will be offered in
the second half.
There will be one Training Activity Grant worth
$2,500.00 to assist members in hosting conservation
workshops.
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
En 2012, treize bourses de perfectionnement
professionnel seront offertes. Celles-ci comprendront les
huit bourses originales totalisant jusqu'à 5 500 $ pour
permettre à nos membres d'assister au congrès annuel de
l'ACCR en plus de cinq bourses de perfectionnement
professionnel allant jusqu'à 500 $ chacune. Ces bourses
ont pour but d'aider nos membres sur le plan des frais de
déplacement, d'hébergement et d'inscription pour assister
à un congrès, à un atelier ou à un séminaire dans leur
domaine de spécialisation. Les dates limites sont les
suivantes : le 31 janvier pour les bourses du congrès
annuel et le 31 janvier et le 31 juillet pour les bourses de
perfectionnement professionnel. Un maximum de trois
bourses de 500 $ sera offert durant la première moitié de
l'année. Les autres bourses seront remises durant la
seconde moitié de l'année.
Une bourse de formation de 2 500 $ destinée à aider nos
membres à présenter des ateliers de restauration sera
remise.
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
27
37th Annual CAC Conference and Workshop Reviews
CAC Conference Review
The 2011 Winnipeg conference was my first CAC
conference and I was very grateful to receive support
from the CAC in order to attend.
Having been on the planning committee for Ottawa I
understand how much work goes into organizing the
annual conference. The much smaller group of dedicated
Winnipeggers made it look easy! Every event, from the
opening reception, to the tours, to the tradeshow was
meticulously planned and flawlessly executed. The
Winnipeg Art Gallery was a visually-striking and very
professional main venue (complete with comfy seats!)
One of the highlights of the conference was the banquet.
Held at Fort Gibraltor, a former fur trading post, attendees were treated to enthusiastic tours by costumed staff
and feasted on mouthwatering bison. I left with a tighter
dress and desperate desire to obtain the dessert recipe!
The greatest aspect of the conference, and the main
reason for its attendance, is the sharing of professional
ideas and experiences through presentations. For a
recent graduate like myself, these presentations seemed
like nothing short of magic. I sat awestruck in my seat
learning what my seemingly-ordinary fellow attendees
actually get paid to do on a daily basis. The presentations
were as wonderful as they were varied - from deducing
how best to preserve and replicate unique wallpaper in a
popular Toronto historic house to the challenges of
conserving a bizarre futuristic 1940s aluminium dwelling
at the Henry Ford Museum. Some presentations reinforced the value of traditional conservation materials, as
in the case of a 16th century Croatian altarpiece, while
others revealed exciting new developments to the field,
like the Risk Assessment models currently being developed by CCI.
CAC Workshop
Printmaking: Artist Meets
Conservator
A fascinating day of artistic experiences was held prior
to the conference at the Martha Street Studio, near the
Manitoba Museum. This studio is shared by a number of
printmakers in Winnipeg, and is a wonderful environment
for artistic endeavours. The impressive copper plate wall
at the entrance opens into a cozy studio with good
lighting, numerous presses and attractive working spaces.
The process of copper plate etching was new to our
entire small but diverse group of participants, and was
undertaken with great enthusiasm. Winnipeg visual artist
and printmaker Miriam Rudolph expertly led us through
the steps of etching, from transferring our pencil drawings to the coated copper, scratching out our designs and
immersing them in acid, inking, and finally printing on
damp paper. The results were exciting, and as is always
the case in classes, there was immense variety in the
results.
Coinciding with the practical experience, paper conservator Crystal Maitland presented information on prints from
a conservator's point of view, first explaining the basic
types of prints (intaglio, relief and planographic, with
screen printing as a fourth category) and then sharing
tips on identifying specific prints and discussing conservation issues related to each type. A wide assortment of
samples along with hand microscopes allowed us to have
the opportunity to apply the information we had learned.
Of interest to newsletter readers may be some of
Crystal's suggested reading list:
I felt very privileged as a recent graduate to attend the
conference, and would highly recommend the experience
it to any emerging conservators. To them, I'd like to pass
along my favourite souvenir of the Winnipeg conference
- a bit of advice from the storied presenter Ian
Hodkinson: "Scotch is the best precursor for spit-cleaning"!
Megan McIntosh
28
light-sensitive chemicals and then exposed to a negative
in the sunlight outside (yes there was sunshine on
Wednesday!). Washing with water eliminated leftover
chemicals, and we were left with beautiful blue toned
photographs.
Many thanks to the workshop coordinators Joanna
McMann and Suzanne Sutherland and to the wonderful
workshop leaders for the day! It was a lot of fun, and
very informative. Oh, and the lunch was exceptional,
especially the custom-designed cupcakes from Cakeology which featured the conference logo of a beaded
flower!
Dorothy McCord
• The Printed Picture by Richard Benson, New York:
Museum of Modern Art, 2008
• How to Identify Prints: A complete Guide to
Manual and Mechanical Processes from Woodcut
to Ink Jet by Bamaber Gascoigne, Thames &
Hudson, New York, 2nd edition 2004, 1st edition 1986.
And two terrific websites:
• MoMA: What is a Print? http://www.moma.org/
interactives/projects/2001/whatisaprint/flash.html
• The Image Permanence Institute's Graphics Atlas
http://www.graphicsatlas.org
The afternoon was devoted to photography, and the
group had the chance to create cyanotypes. Shelagh
Linklater presented an introduction to the history and
technology of photographic materials and guidelines for
storage and handling of photographic collections. Leif
Norman, an independent Winnipeg photographer who
researches and experiments with various forms of
photography, and who has built a large format camera for
his images, instructed the group in producing cyanotypes.
The process was fascinating as paper was coated with
29
CAC Workshop
Emergency Response
This workshop was the first of the pre-conference
workshops. It was divided into two sessions; "Salvage
Planning and Triage" and "Salvage Techniques for Wet
and Fire-damaged Collection Material". As a student, I
was interested in the coupling of these sessions because
I looked forward to the opportunity to do both theory and
hands-on learning in one day. I also felt the workshop
was topical in light of recent world and national emergencies.
Session A: Salvage Planning and Triage
Facilitated by: Irene Karsten, Canadian Conservation
Institute
The first session was held at the Winnipeg Art Gallery, a
fine host facility. There were 20 participants for the day.
Encounters with emergencies and disasters varied widely
in the group, which made for very enriching conversations. Irene Karsten's presentation was based around a
very well conceived disaster planning program, where
participants used exercises to plan for "Anytown Community Museum and Archives". The participants were
divided into groups, and for the first exercise did a
"collections risk analysis through floor plan coding".
Teams were given information about the collection, and a
floor plan to decide what areas would be most affected
in a disaster. Levels of risk (Low-High-Very HighExtreme) were determined by sensitivity of materials
(not including casings), which were then indicated in a
colour code on the floor plan. I felt this was a great
exercise because a visual map was quickly created to
explain priorities and it could be easily interpreted. Irene
followed the exercise with a discussion on how to use the
coded floor map to create a task chart (i.e. responsibilities of employees, materials and space necessary, etc.)
Additionally, she mentioned the importance of adjusting
the floor plan for objects of outstanding value or special
circumstances. (This was a relief to many who felt the
initial colour coding was oversimplified.)
After our mid-morning break, team preparations were
tested by disaster scenarios (i.e. burst pipes, fire and
smoke damage, etc.) The affected areas were indicated
by a clear floor plan overlay. The use of tools like Field
Assessment Guides and flow charts were discussed for
their good documentation and decisions making uses.
Each team presented the steps they would take in
response to their scenario. This portion created a very
engaging and informative discussion between the groups.
30
I believe the session was received very well, and followup emails were much appreciated. This type of program,
and the exercises, would be very useful in board meetings, especially for explaining conservation concerns to
the uninitiated.
Session B: Salvage Techniques for Wet
and Fire-Damaged Collection Material
Facilitated by: Jane Dalley, DFHCS
After a lovely lunch in the Storm Restaurant, with a
spectacular view of the Winnipeg city landscape, the
group took a short walk to the Manitoba Archives
building. Following participant introductions and a review
of common emergencies and risks, Jane Dalley started a
spirited conversation about "Things Conservators Like to
Buy". This included suggestions on tools and supplies for
disaster kits, and where to find them. Lee Valley Tools
seemed to be a hit because of interlocking dollies, tarps
with handles or button snaps, LED plug-in hook lights,
and mini portable cordless power pumps. After a few
more handouts and videos, we suited up for the much
anticipated mock disaster. The "disaster" was that a
basement storage area had flooded and the collection
was affected. Furthermore, some of the objects had
previously been affected by fire and were not yet
treated. Participants were once again divided into teams,
and jumped straight into pulling items out of boxes/
containers and determining best methods of salvage.
Teams started to mingle because it was extremely
interesting to see what situations others had come
across. Dealing with media materials, soot removal,
deciding what items should be sent for freezing, how to
create controlled environments for wooden items, and
what to do with wet framed art were some of the more
popular discussions I witnessed amongst participants.
Time whizzed by and began to run out before we had
reached the end of salvage or validated some of our
decisions.
Overall the day brought to the forefront the necessity of
reviewing and updating disaster plans. We walked away
with many samples, a good list of resources and supplies,
information packets, and useful new planning tools.
Thank you to the Winnipeg organizing staff for offering a
valuable and topical workshop day. And thank you to
Irene Karsten and Jane Dalley for facilitating.
Stephanie Chipilski
CAC Workshop
Advanced Issues in Emergency
Preparedness and Response
Practise leaving your comfort zone - it's a good
thing!
We can all agree that developing a disaster plan for your
institution is a good idea, but many times it seems to be
just a theoretical exercise. The two day Advanced Issues
in Emergency Preparedness and Response workshop
went beyond the planning stage, to the next level salvaging and restoring damaged collections.
A disaster, by definition, is an unplanned event and any
real threat your collection will push any museum professional out of their comfort zone. Planning and preparation
are your best defences against the next unknown.
Attending this workshop has put more tools in our
professional belts. The topic seemed especially timely,
with many regions of Canada in a wet cycle and experiencing unusual weather events.
Hands on sessions
Workshop participants triage and salvage wet, dirty, fire
damaged collections, during the mock disaster exercise.
(Photo taken by Heather Beerling)
The first day's sessions dealt with salvage planning and
triage. In the morning, Irene Karsten, Canadian Conservation Institute (CCI), introduced a Floor Plan Coding
system to assess risks to collections "in broad terms".
During the group exercise, we were encouraged to
assign codes to the best of our knowledge, to resist any
tendency to be overly analytical and to avoid delaying a
decision for fear of making a mistake. During a "real
disaster", time will not be on your side and decisions will
have to be made immediately. The bottom line is that
even an imprecise survey of your collections will be a
useful tool in a real salvage situation.
stabilization would be the most you could achieve,
especially if the amount of material were many times
larger. Wearing a full Tyvek suit, gloves, boots and
facemask also pushed us out of our comfort zone, as we
tried to imagine working a full day in this attire.
In the afternoon session, Jane Dalley, Dalley Froggatt
Heritage Conservation (DFHCS), created a small scale
disaster with a wide range of wet, dirty, soot covered
artifacts and archival material. After reviewing salvage
theory and safety precautions, we suited up in full PPE,
were divided into groups and assigned specific items to
triage and recover.
In the second day's sessions we expanded outside the
walls of our cultural institutions. Randy Hull, Emergency
Preparedness coordinator, Winnipeg, MB, spoke to us
about the importance of making contacts with your local
Emergency Preparedness Officials. Not only do they
have vast experience with emergency preparedness, but
they are not likely to be aware of concerns specific to
museums, archives and other heritage properties. Andrea
Hallam, from the London Heritage Council presented the
success of her initiatives to consult with the local emergency authorities. Opening a dialogue and connecting
with local officials is best done before you have to deal
with a real disaster, when time is at a premium and
emotions may be running high.
What impacted me most from this session was that the
natural reaction to a disaster is chaos. Most groups
worked independently and we lacked a common focus.
At the end of an hour, there were still items that had not
been triaged, while some groups were completing
detailed cleaning. In a real disaster, I would expect that
I think this session could have allowed more time to
evaluate and practise the various cleaning techniques.
Perhaps it could be expanded into a future training
session for a museums or archives association.
Involvement with the wider community
31
The afternoon included slick presentations from the
restoration industry (Jerry Kofsky, FirstOnSite Restoration, Toronto) and an insurance representative (AnnLouise Seago, AXA Art, Toronto). These sessions
reminded us that there is a business side to recovering
from a disaster and that some planning can assist with
paying those expenses.
Conclusion
Disasters come in all shapes and sizes and everyone
working in heritage institutions will have to deal with
some unforeseen situation. By attending the workshop
Advanced Issues in Emergency Preparedness and
Response, we have gained as much first hand experience
possible without actually experiencing the real thing.
Organizing a salvage and recovery operation takes a
plan, leadership and flexibility to manage the realities at
hand and having the support of the local community
stakeholders and business can only add to your success.
Dayna Barscello
32
News From Abroad
Des Nouvelles de l'Étranger
I recently had the opportunity to travel to Australia to
undertake an internship in collection risk analysis with
Ottawa-based Dr. Robert Waller, who was recently
awarded SPNHC's Carolyn Rose Award. Mercifully
unaffected by jet lag, we spent three very busy weeks in
Melbourne delivering interactive workshops on the
Cultural Property Risk Analysis Model (CPRAM) to
staff from Museum Victoria (MV) and to collections
care professionals from throughout Australia and New
Zealand. The CPRAM model, which Dr.Waller developed and implemented while conservation chief at the
Canadian Museum of Nature, has been successfully
applied for nearly 20 years to collections at institutions
around the world. The model is notable for its comprehensive and logical methodology, as well as the fact that
it relies on the input and expertise of those who work
with the collections every day.
Dernièrement, j'ai eu l'occasion de me rendre en
Australie pour y effectuer un stage en analyse des
risques pour les collections en compagnie du Dr Robert
Waller, d'Ottawa, récent lauréat du prix Carolyn Rose
remis par la SPNHC. Fort heureusement non affectés
par le décalage horaire, nous avons passé trois semaines
bien remplies à Melbourne, où nous avons donné des
ateliers interactifs sur le modèle d'analyse des risques
pour les biens culturels à l'intention du personnel de
Museum Victoria (MV) et des professionnels de la
gestion de collections d'Australie et de Nouvelle-Zélande.
Le modèle d'analyse, conçu et mis en application par le
Dr Waller alors qu'il était directeur de la conservation au
Musée canadien de la nature, est utilisé avec succès
depuis près de 20 ans par diverses institutions à l'échelle
mondiale. Ce modèle est reconnu pour sa méthodologie
logique et détaillée, ainsi que pour ses éléments fondés
sur les commentaires et l'expertise des gens qui
travaillent tous les jours avec les collections.
Over thirty five staff members from Museum Victoria,
including collection managers, curators, conservators,
scientists, facility managers and risk managers attended
a two-day workshop where they studied and discussed
the risk analysis model, and, in small teams, practised
applying it to case studies in preparation for using it for
their own collections. In addition to their energetic
participation and wholehearted dedication to an institution-wide risk assessment, the staff at Museum Victoria
also brings extensive specialized knowledge and experience to the project. Laura Stedman, Manager of Integrated Collection Processes, will serve as the
"gatekeeper" for the risk assessment. In this role she will
schedule work and input documentation and data for all
collections over the next three years. The assessment
will be an extensive undertaking, as Museum Victoria's
sizable collections encompass natural sciences, indigenous cultures, and history and technology, and are
housed and exhibited in a number of facilities: the
Melbourne Museum, the Immigration Museum,
Scienceworks, and the Royal Exhibition Building - as well
as a major dedicated storage facility.
While in Melbourne, Dr. Waller and I also conducted
one- and three-day risk assessment workshops for over
sixty people from Australia and New Zealand employed
in museums, galleries, archives, and in private practice.
The feedback generated by these workshops was
overwhelmingly positive: participants were very interested in the CPRAM model and were inspired to apply
what they had learned to their own collections. The
interactive nature if the workshops also led to some very
valuable discussions regarding specific risks to collections
in the Antipodes.
Plus de 35 membres du personnel de Museum Victoria,
notamment des gestionnaires de collection, des
conservateurs, des restaurateurs, des scientifiques, des
gestionnaires des installations et des gestionnaires du
risque, ont assisté à un atelier de deux jours durant lequel
ils ont pu étudier le modèle d'analyse de risque et en
discuter; ensuite, en petites équipes, ils ont appliqué le
modèle à des études de cas afin de se préparer à l'utiliser
dans leurs propres collections. En plus de sa participation
énergique et de son dévouement entier à une analyse des
risques effectuée à l'échelle de son institution, le personnel de Museum Victoria a également contribué au projet
par ses connaissances et son expérience spécialisée.
Laura Stedman, gestionnaire des méthodes intégrées
relatives aux collections, servira de " gardien " durant
l'évaluation du risque. Ainsi, elle organisera le travail et
compilera la documentation et les données de toutes les
collections durant les trois prochaines années.
L'évaluation sera des plus complètes, puisque les
imposantes collections de Museum Victoria touchent aux
sciences naturelles, aux cultures indigènes, à l'histoire et
à la technologie, et sont entreposées et exposées dans
divers immeubles : le Melbourne Museum, le Immigration
Museum, Scienceworks et le Royal Exhibition Building,
en plus d'un imposant entrepôt.
Durant notre séjour à Melbourne, le Dr Waller et moimême avons également offert des ateliers d'un jour et de
trois jours sur l'évaluation des risques pour plus de 60
employés de musées, de galeries et d'archives ou
professionnels en pratique privée d'Australie et de
Nouvelle-Zélande. Les commentaires reçus lors de ces
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The workshops were the result of considerable commitment and effort from Maryanne McCubbin, Head
Strategic Collection Management at Museum Victoria,
who arranged for the workshops and staff coaching
sessions. Maryanne benefitted from support and assistance from Davina Hacklin, Manager, Conservation,
Museum Victoria and Vilim Kompar, Risk Management
and Insurance Advisor from the Victorian Managed
Insurance Authority.
Alison Fleming
Recent graduate of Sir Sandford Fleming College
Collections Conservation and Management Program
ateliers étaient largement positifs : les participants étaient
très intéressés au modèle d'analyse et avaient l'intention
d'appliquer ce qu'ils avaient appris à leurs propres
collections. La nature interactive des ateliers a aussi
mené à diverses discussions intéressantes portant sur les
risques spécifiques aux collections situées en Australie et
en Nouvelle-Zélande.
Ces ateliers ont été le fruit du travail sans relâche de
Maryanne McCubbin, directrice de la gestion stratégique
des collections de Museum Victoria, qui a organisé les
ateliers et les séances de formation du personnel. Mme
McCubbin a reçu le soutien de Davina Hacklin,
gestionnaire de la restauration de Museum Victoria, et de
Vilim Kompar, conseiller en gestion du risque et en
assurance de Victorian Managed Insurance Authority.
Alison Fleming
Récente diplômée du Collège Sir Sandford Fleming
Programme de gestion et de conservation des collections
34
Western Region - Région de l’Ouest
Manitoba
Parks Canada
July 11, 2011 was Susanne Sutherland's Project 7-11, symbolizing her retirement after 25 years as an Inorganics and Composites Conservator with Parks Canada, Western and Northern
Service Centre. Susanne began her career as a conservator
with Parks Canada in 1981 after attending the Museum
Technician Internship program at the Manitoba Museum. In
1983 she took a leave of absence to return to her previous
employer, the London Children's Museum in London, Ontario.
She was curator when the museum moved from a mall store
location to the present day location in a former public school.
After four years, she returned to Winnipeg and spent nine
months co-ordinating the Manitoba Conservation Service
while Neal Putt was on sabbatical leave. She rejoined Parks
Canada in 1988.
The highlights of her career include: spending the summer of
1995 in Dawson City organizing conservation projects;
participating in the conservation of the cannon team project at
Prince of Wales's Fort in Churchill, Manitoba; making survey
trips to Motherwell Historic House, Bar - U Ranch, Fort
Battleford, Batoche and Fort Langley; and attending courses
such as Tinsmithing at Parke House in Amherstburg, Ontario,
the 2003 CCI-ICCROM Preventive Conservation Course, and
the University of London courses in Ceramics and Glass.
Her legacy to Parks Canada is the collaborative venture of
putting together the booklet, Rust Never Sleeps, as a training
guide for staff at historic sites and parks. The booklet has far
exceeded just about everyone's expectations as it has reached
both a national and international audience in the same manner
that Parks Canada attracts visitors. At the 2011 CAC conference, Susanne made a presentation that outlined the development of the booklet.
She feels most fortunate to retire and take time to pursue her
creative artworks. She plans to co-ordinate a short series of
conservation booklets on different materials once she has
relocated to her hometown of London, Ontario. If anyone
wishes to reach Susanne, please send e-mail to
[email protected].
Manitoba Regional Group
We met for a wrap-up of the 2011 conference at a potluck
picnic at Lower Fort Garry National Historic Site, where we
briefly discussed our final report, then toured the site with
Heather Beerling as our guide. It was a beautiful day and all
agreed it was a nice get together. I think we've recovered fairly
well from conference-itis.
Dalley Froggatt Heritage Conservation Services
Jane Dalley and Brad Froggatt have been busy with site visits
and outreach projects for the Association of Manitoba
Museum and the Saskatchewan Council of Archives and
Archivists. Jane completed an in-depth assessment for the
University of Saskatchewan Archives and Special Collections,
in preparation for their upcoming renovations and the transfer
of the Diefenbaker archival and library holdings. Jane designed
and delivered a hands-on session on salvage techniques for
wet and fire-damaged collection material at the annual CAC
conference, as part of CCI's pre-conference workshop,
Advanced Issues in Emergency Preparedness and Response.
DFHCS is currently working on the full treatment and conservation rebinding of the Gudbrands Bibla, a Gothic bible
belonging to the University of Manitoba.
DFHCS continues to carry products from Conservation
Resources International, la Papeterie St. Armand, Artifex and
Atrix. Updates are available on the DFHCS Facebook page.
The Manitoba Museum
The Museum welcomed summer student Leah Werier in June.
She assisted Conservator Lisa May with condition reports and
photos for A Century of Optometry, a community exhibit
developed by the Manitoba Optometrists Association. Leah
has been working on a variety of small projects before she
goes off to the Courtauld Institute for her Master's degree in
History of Art. Lisa has been making mounts for our next inhouse exhibit, Colour in Nature, and working on a backlog of
minor treatments. Kathy Nanowin assisted with installation
and condition reports for Reeds and Wool, a small but exquisite
exhibit of textiles from Kyrgystan.
Manitoba Archives
The Manitoba Archives was sad to say goodbye to Joanna
McMann in March. Joanna left to take a one year fellowship at
the Canadian Conservation Institute. She contributed greatly
to the work of the archives and we will miss her. Although no
longer a member of the Manitoba community, Joanna McMann
continued in her role as administrator of the Printmaking
workshop as Manitoba conservators organized the 37th
Annual CAC Conference. Shelagh Linklater oversaw Registration and Finance. Ala Rekrut coordinated the CCI/CAC
Workshop "Advanced Issues in Emergency Preparedness and
Response" as well as giving a paper at the conference.
Ala also attended and made presentations at the the LACsponsored: "Analog Preservation in the Canadian Landscape:
Building Collaboration" workshop and in an Association of
35
Canadian Archives Conference session which also featured
papers by Rosaleen Hill and Greg Hill.
Several archives collections were loaned for exhibit both within
and outside the province. Twenty Hudson's Bay Company
Archives records were prepared and mounted for an Inuit
celebration at the Manitoba Legislative Building. A journal
documenting the formation of Manitoba was also displayed in
the same building. Loan arrangements have also been made
with the Canadian Museum of Civilization and the Canadian
War Museum.
In addition to general preservation work, progress was made
on the development of strategic record storage, replacement of
vault mechanical systems and expansion of the Government
Records Centre, which is scheduled to be complete on January
1, 2012.
include detailed descriptions of the various components of a
painting, their condition and treatment requirements for inhouse exhibitions and loans. Recently, she has also started a
basic survey of sculptures in the collection for a storage
upgrade project.
In the paper lab Lee Oldford Churchill has been working on a
number of storage projects for the library and archives. In art
she is working on a survey of the Inglis Sheldon-Williams
collection (over 600 drawings and paintings), and hosted the
artist David Hoffos, who was at Glenbow to repair a part of his
work "Scenes from a Dream House" that was damaged during a
loan and will be displayed at the Illingworth Kerr Gallery in the
fall.
Royal Alberta Museum
Brenda Smith has been busy working on the Jack Sures
(ceramic artist) retrospective, a touring exhibition which opens
at the MacKenzie Art Gallery this fall. She is currently cleaning
and waxing an outdoor sculpture of Queen Elizabeth at the
Saskatchewan Legislature, and will be working on two bronze
outdoor sculptures for the City of Regina: Sir John A.
MacDonald, and Confucius. In the spring Brenda co-taught
"Care of Collections" with Alyssa Becker-Burns for the
Museums Association of Saskatchewan.
Conservation volunteer Jenika Sobolewska has been contracted to work on a Squamish Nation thunderbird pole that
had been an Edmonton landmark on the highway to Jasper for
three decades. Former CFRN Television staff raised the funds
for conservation of the high-profile pole that included eliminating a carpenter ants infestation, the removal of flaking high
lead overpaint and wood stabilization. Something different for
the Museum, the 20' pole originally purchased by Muttart
Lumber from carver Joe Mathias is being worked on in the
Museum lobby over the summer. A Hazmat protocol is followed
and visitors can view the progress from barriers that surround
the temporary lab space. Andrew Todd was the consultant and
Carl Schlichting designed the mounting system; Cody
Mathias, the nephew of the carver, will be repainting the pole
once the conservation work is completed.
Alberta
University of Lethbridge Art Gallery
The Glenbow Museum
Juliet Graham has accepted the position of registrar. Conservation is part of the job description as well, with tape removal
from works on paper playing a big role. Having recently
completed a survey of the works on paper in the collection, the
next big project will be to do a conservation survey of the
paintings in the collection.
Saskatchewan
MacKenzie Art Gallery
In February, the conservators offered a behind-the-scenes
program for the public during a "Family Fun" weekend. The
tours of the conservation labs were designed to illustrate some
of the more scientific aspects of conservation to fit in with the
weekend theme of science and art. The Beilstein test was a big
hit with the visitors.
In the objects lab, Heather Dumka treated a number of NorthWest Mounted Police artifacts for a digitization project, and
has recently been working on updates to the museum's
Emergency Plan. She has also been working with the database
coordinator to modify the existing object survey form for
surveying artifacts for exhibits and loans. Another survey form
is being developed for an assessment of plastic artifacts in the
cultural and military history collections.
In the paintings and sculpture lab, Priyanka Vaid has been
treating paintings by the artist A.F. Kenderdine. The paintings
have a thick coating of linseed oil that has significantly
darkened with age thereby hiding original colours and details.
She has also been involved in preparing comprehensive
conservation surveys of paintings in the collection which
36
Gail Niinimaa
Gail has been doing some private work in Textile Consevation.
Her latest projects include mounting of twosets of Union Jacks
and Red Ensigns for the Calgary Board of Education's Historic
Classroom project and some conservation and mounts for
various sports uniforms from the Canada Sports Hall of Fame
that opened on July 1, 2011. She continues to work as the
Administrator for YouthLink Calgary - The Calgary Police
Interpretive Centre and is beginning plan a collections project
for the future move of the collection to a new Centre in 2014.
University of Calgary Archives and Special
Collections
The Archives and Special Collections at the University of
Calgary are making final preparations to move into the new
high-technology Digital Library. Delays caused by construction problems are being remedied and should be resolved by
the time staff moves at the beginning of September. David
Daley has been busy preparing collections for the move to the
new library building and offsite High Density Storage building
as well. These moves will take place sometime in October or
November. Some of the items being moved include two
whalebone sculptures, a cast-iron printing press, various
artworks and a considerable collection of rare books and mixed
collections.
British Columbia
Fraser Spafford Ricci Art & Archival
Conservation Inc.
The lab welcomes Christine Foster, Conservator of Paintings,
back from her maternity leave. She is working part-time and we
are pleased that Emily Min is remaining as a full-time conservator in the paintings area. In early July, Sarah Spafford-Ricci
was called to the Canada Games Center in Whitehorse, Yukon
to lead the salvage and recovery of art after a fire deposited
soot throughout the large facilty. Sarah was assisted on-site by
Yukon conservators Valery Monahan, Robert Ridgen and
Garnet Muething who graciously donated their time and
expertise to the City of Whitehorse as part of the cooperative
salvage and recovery process. Hannah Ricci, Sarah's daughter
is beginning to apprentice in the FSR conservation lab, and
also acted as an on-site assistant. Art salvage began very
early - 5 days after the fire - while the building recovery
company (Belfor) were also beginning their recovery process.
Approximately 35 public works of art in various media from
sculpture to digital works to paintings and paper were salvaged and received initial cleaning in-situ. A large installation
of "flying" copper birds were carefully labelled and de-installed
to allow for conservation and building cleaning. As is usual in
a post-fire situation, all art was removed except those permanently installed. Triage took place that saw a portion of the
works fully cleaned and wrapped ready for re-installation, a
portion that will be cleaned and rematted/reframed in
Whitehorse by a technician (Cathy Deer) under the guidance
of Sarah Spafford-Ricci and works that will receive further
cleaning and treatment at the FSR lab in South Surrey in the fall
of 2011.
1500 extraordinarily clear black and white photographs
documenting the development of the Lower Baker Dam in
Washington State are being cleaned, repaired and prepared for
archival storage. The photographs are also being scanned at
the FSR lab by a photographic technician on a professional
scanner to produce archival masters for Puget Sound Energy
(the company that built the dam) and for the Concrete Heritage
Museum (the museum that is located at the dam sight). The
production of digital images in both TIFF and jpg, and
conservation of the photographs and storage housing
represents a complete conservation project that allows access
to the images whilst preserving the original photographs for
perpetuity.
The lab recently treated a very large Jack Bush colour field
painting. It was successfully cleaned with dry surface cleaning
methods including use of a Chemsponge and minimal application of a Magicrub eraser to remove stubborn accretions, and
solvent cleaning in areas for which it was safe. Another
treatment of an early Saskatchewan painting depicting an ox
pulling a plough made good use of the lab's multipurpose
table. The treatment involved removing distinct vertical
creases in the canvas due to rolling, and re-shaping the
moisture damaged canvas which had shrunk along the
horizontal centre and at one end. The painting was cleaned,
finger-shaped edge strips were affixed and the painting was
placed on a custom temporary stretcher that allowed
tensioning and adjustment of the painting with turnbuckle
adjustments while it received a vapour treatment and was dried
slowly on the suction table. The result has been remarkable
and very rewarding because the painting was restored to its
original shape and flatness, with areas of tenting also removed.
It has also been re-stretched, received consolidation, infill/
inpaint and light varnish.
Ian Wainwright
Ian has been active with pictograph and petroglyph site
conservation research, writing, translation and as a Volunteer
Contributor of abstracts for AATA Online. In 2011, Ian
completed a report on the conservation of the Bedford Barrens
Petroglyph Site for the Culture and Heritage Committee,
Mi'kmaq-Nova Scotia-Canada Tripartite Forum and the
Confederacy of Mainland Mi'kmaq. The report included a
review of previous conservation and recording work at this
important Mi'kmaw site and an assessment of conservation
and site management options for consideration by the Tripartite Officials Committee (see Tripartite Forum Aknutmaqn 1(1),
Spring 2011 online). Several pictograph sites in western
Canada have been assessed over the last several years for the
Archaeology Department, Upper Similkameen Indian Band, the
Tmixw Research Archaeology Department, Nicola Tribal
Association and others. In 2007 Ian collaborated with Matthias
Strecker, Freddy Taboada Téllez and others of the Sociedad de
Investigación del Arte Rupestre de Bolivia (SIARB) on the
conservation of the Paja Colorada and Mataral cave pictographs, Province of Vallegrande, Department of Santa Cruz,
Bolivia. This work was done as a Volunteer Adviser with the
Canadian Executive Service Organization (CESO) and included
graffiti treatment at both sites. Pigment samples removed from
the Paja Colorada site were analyzed by Mati Raudsepp,
Electron Microbeam/X-ray Diffraction Facility, Department of
Earth and Ocean Sciences, University of British Columbia.
This is the first time Bolivian rock painting pigments have been
identified. (Wainwright, I.N.M. and Raudsepp, M., 2008,
Identificación de pigmentos de pinturas rupestres en Paja
Colorada, Prov. Vallegrande, Depto. de Santa Cruz, Boletín,
Sociedad de Investigación del Arte Rupestre de Bolivia, 22,
41-45.) Research with Elizabeth Moffatt and Jane Sirois of the
Analytical Research Laboratory, CCI on the green earth
pigment (celadonite) used by Tlingit, Haida, Tsimshian,
Heiltsuk and Kwakwaka'wakw artists was completed in 2009
37
with the publication of an article in the journal Archaeometry.
(Wainwright, I.N.M., Moffatt, E.A. and Sirois, P.J., 2009,
Occurrences of green earth pigment on Northwest Coast First
Nations painted objects, Archaeometry, 51(3), 440-456.)
Royal BC Museum
The staff of the Royal BC Museum celebrated with Mary-Lou
Florian to recognize her receipt of an Honorary Doctorate from
the University of Victoria. We are proud to consider her one of
our own as Chief Conservator Emeritus and Research Associate. Congratulations Dr. Florian.
Kasey Lee and Delphine Castles will be presenting on Collections Risk Assessment at the International Symposium on Risk
Analysis in Portugal this September. George Field and Lisa
Bengston have been busy working on historic Helmcken
House, as well as preservation plans for totem poles and our
John Lennon Rolls Royce. Kjerstin Mackie and Colleen Wilson
completed work on costumes for The Other Emily exhibit and
recently developed a gallery-based docent program on
preventive conservation. Robert Davison continues to oversee
rehousing of audiovisual and photograph collections in
preparation for cold storage. We recently said farewell to
Ryerson intern Kathy Kinakin, who made wonderful progress
re-housing the ethnographic photograph collection. Betty
Walsh attended the annual CAC Conference and Workshop on
Emergency Preparedness and Response and completed
condition reports for Helmcken House and photograph and
paper treatments for The Other Emily exhibit.
Joining us recently is summer student Jenna Kiesman, who is
cataloguing our digital images and linking them to collections
management records. We have also just welcomed Emilie Van
der Hoorn, paper conservation intern from Northumbria
University, Newcastle, UK.
Andrew Todd
Andrew's conservation studio continues to be involved with
the preservation of Northwest Coast totem poles and other
sculptural projects. Recent consultations and assessments
have been carried out for the Royal British Columbia Museum
and the Royal Alberta Museum. Another "Royal" project is
about to be undertaken for the Royal Totem Pole at Windsor
Castle in Great Britain. The Royal totem pole was a gift from the
Province of British Columbia to Queen Elizabeth II in 1958 to
celebrate the centennial of British Columbia. The totem pole
was carved by Mungo Martin and his assistants and in
addition, a duplicate was carved at the same time and still
stands outside the Vancouver Maritime Museum. An interesting comparative study of rates of deterioration and factors
causing deterioration will be undertaken as conservation
treatment plans are developed for both totem poles. An
assessment project for the Nonsuch replica sailing ship carried
out in 2010 for The Manitoba Museum is being followed this
year with an assessment of the St. Roch for the Vancouver
Maritime Museum. New treatment projects are also underway
for sculptures in the outdoor environment.
38
Eastern Region - Région de l’Est
Ontario
Kingston
Queen's University Art Conservation Program,
The Queen's University Art Conservation Program's 2011
winter term ended with the 37th annual student conference for
graduate programs in conservation (ANAGPIC), held at the
University of Delaware at Winterthur, April 14 to 16. Two
Queen's students presented papers and ten students presented posters. Hai-Yen Nguyen, a second-year student in
Conservation Science, presented her research on Low-Flux
Neutron and Megavoltage Gamma Computed Tomography for
the Non-Destructive Imaging for Archaeology and Art
Conservation. Amber Harwood, a second year student in
Paper Conservation, presented a paper entitled Analysis of the
Physical Characteristics of Transparent Cellulosic Nanofiber
Paper.
Current Art Conservation students have spent their summer
internships in a wide variety of locations across the world,
including the Commonwealth of Western Australia Museum in
Fremantle, the New York Academy of Medicine, the American
Museum of Natural History, and the Atelier de restauration et
de conservation des photographies de la ville de Paris. The
Queen's program will welcome 12 new students in September:
four in the paper stream, three in paintings, four in artifacts,
and one in conservation science.
The inaugural meeting of the Queen's Art Conservation
Program Advisory Committee was held on May 2 at the
University Club at Queen's. This committee is composed of
representatives from outside the university, from the faculty
and administration at Queen's, and from current students and
recent graduates. The mandate of the committee is to offer
counsel and advice to the Program on matters such as curriculum, internships and fundraising. The full day meeting saw a
very lively and useful exchange of information and ideas on
how to make the program more sustainable. The committee
plans to meet once per year.
The Art Conservation Program has acquired a new state-of-the
art handheld X-ray fluorescence (XRF) analyser from Bruker
Elemental, on long-term loan. The capabilities of the new
Bruker instrument far exceed those of the program's previous
system. The new XRF is more powerful and can detect
elements as light as aluminum and silicon, allowing researchers
to obtain information about metal objects, paintings, ceramics,
photographs, and other objects.
Bruker Elemental now has XRF units in all the North American
conservation programs as well as in 500 museums worldwide,
including the Smithsonian Institution and the Getty Conservation Institute. Dr. Aaron Shugar, Associate Professor at the Art
Conservation Department at Buffalo State College, visited the
program for two days in March to demonstrate the use of the
unit. While here Dr. Shugar gave two talks, X-Ray Fluorescence: Theory and Its Use in Conservation and Corrosion
Issues with Copper and Copper Alloys. Dr. Shugar is coediting a book about handheld XRF analysis in conservation.
Krysia Spirydowicz has stepped down as Director and
Graduate Coordinator of the Art Conservation Program, and
John O'Neill has assumed these responsibilities. Krysia will
continue to teach and supervise students specializing in the
conservation of artifacts and will also be devoting more time to
research. In late May, Krysia was in Rome to carry out
research for her book, entitled Art Under Fire, on the rescue of
cultural property by the British and American Monuments
Officers during World War II. She consulted the library and
archives at the American Academy and at the British School in
Rome
Professor Barbara Klempan spent time in the Rare Books and
Special Collections Library at McGill University in Montreal
conducting research into artists' materials. She is also working
on a manuscript for the Journal of CAC on an early Canadian
manufacturer of artists' materials. She recently co-authored the
catalogue Lost and Found: Wright of Derby's View of
Gibraltar, Agnes Etherington Art Centre, Kingston, 2011. The
title of her essay in the catalogue was "Technical Examination
and Conservation Treatment of A View of Gibraltar".
John O'Neill is now the Director and Graduate Coordinator of
the Queen's University Art Conservation Program and the
Associate Professor of Paper Conservation. He is continuing
his research into the history of coated papers, particularly
those used for art works in the 19th century.
Professor Alison Murray is continuing to work on infills in
contemporary paintings with Professor Laura Fuster-López at
the Polytechnic University of Valencia, Spain, and two Queen's
students, Golya Mirderikvand, a graduating paintings student,
and Michael Doutre, a senior undergraduate chemistry
student. This work will be the subject of posters at the
conference on adhesives at CCI in Ottawa and the ICOM-CC in
Lisbon, both in the fall. With Professor George Bevan, from
the Classics Department, Alison has been working with HaiYen Nguyen, a conservation science research student. Yen is
completing her master's degree on the application of computed
tomography, using different sources, in art conservation and
archaeology. Alison has also been working with CCI on ways
to strengthen collaborations on student research projects.
Alison would be very pleased to hear from conservators in
private practice or institutions about potential research topics
for students.
39
Ottawa
Library and Archives Canada
Maps and Manuscripts Lab
In preparation for establishing this fiscal year's treatment
goals, as well as placing projects in a holding pattern on LAC's
annual Treatment Plan, conservators spent several days in the
spring doing assessments of a prestigious collection of maps,
bound documents relating to the Seven Years War, and LAC's
important holdings of treaties.
Doris St. Jacques attended the annual AIC conference in
Philadelphia where she presented Nicolas De Fer's L'Amérique
1739 Wall Map: A Look into the Ethical Dilemmas Resulting
from Past Restorations, based on the treatments done by
Senior Conservator Maria Bedynski and Doris.
We have one intern this spring/summer. Jeanne Beaudry
Tardif, a first year student from Queens Art Conservation
Masters Program (Paper stream), is with us for 6 weeks. Jeanne
has been working intensively on several maps, each one with
its own particular problems and challenges, as well as a fragile
10-sheet newsprint broadside and a parchment project.
Despite the reduction of our in-house exhibitions, conservators are preparing for I Know You by Heart, a travelling
exhibition of portrait miniatures from our holdings. We are also
busy with several loans to other institutions, including the redstained version of the Proclamation of the Constitution 1982
which is going this winter to the Canadian War Museum for
Peace: The Exhibition.
Books Lab
Board Reattachment Project
The book conservators cooperated on a project involving LAC
collection volumes requiring conservation. The goal of the
project was to learn and implement various board reattachment
techniques and to create a reference guide to assist in decision
making for board reattachment. The reference guide is based
on and follows the 2009 AIC Book and Paper Group - Book
Conservation Catalog: Section 2: Board Reattachment. The
reference guide expands on the eight treatment variations
described in the AIC catalog by providing a full description of
the technique, steps of execution with images and tips and
comparison on the eight techniques and variations totalling
fifteen board reattachment treatment variations.
Elizabeth Smart Conservation Project
Conservation treatment was carried out on a variety of 19th
and 20th century publishers bindings from a recent acquisition
which includes hundred of volumes from the personal library
of Elizabeth Smart, a Canadian born author. The goal of the
conservation project was to conserve the books in such a way
as to stabilize and prevent further damage while preserving the
aesthetics of the volumes exhibiting wear and use by E. Smart.
40
Bookbinding Finishing Tools
LAC hosted a researcher, Kath Thomas from Florence, Italy to
document LAC's bookbinding finishing tools. Ms. Thomas
was researching finishing tool collections for her upcoming
publication and was interested to learn about collections in
Canada. If you know of any finishing tool collections in
Canada please forward information to [email protected]
Canada Science and Technology Museum
Corporation
This winter the conservation department kept very busy with
artifacts for the new Energy: Power to Choose exhibit, opening
late summer. New displays at the main Science and Technology Museum, as well as companion exhibits at Canada Space
and Aviation Museum, Green Skies Ahead, and the Canadian
Agricultural Museum, Energy Park: Nature at Work. The
exhibits will feature objects from across the collection of the
CSTMC including microscopic solar cells, jet-craft engines,
and working windmills.
We had two interns from the Applied Museum Studies program
at Algonquin College with us this spring; Danny Doyle and
Marina Piza. They both helped with the reporting, handling
and treatment of artifacts for several events and smaller
exhibits. Their treatments and mount-making will be on display
in the 'Energy' exhibits. We also had one contract person at
the Aviation Museum: Charles Baril was working on the Avro
Anson project.
Sue Warren was seconded to the Parliamentary precinct to
develop an Emergency Response Plan for the heritage collection.
While Conservator Tony Missio replaced Sue during her
absence, Kendrie Richardson joined us to prepare artifacts for
the Canada Agricultural Museum's Got Dairy? exhibit as well
as working on 'Energy' artifacts. Kendrie and Conservation
Technician Pat Montero collaborated on repair treatments for
several Avro Arrow technical drawings, using heat to apply
Lascaux-impregnated Japanese tissue paper to tears.
Conservator Kevin Machan and Pat installed over fifty
artifacts at several Canadian Nuclear Safety Commission
locations in the Ottawa area, as part of a new partnership with
CNSC. We shipped our Arctic archaeology and exploration
exhibit Echoes in the Ice out for travelling with stops to
include The Rooms, The McCord Museum and the Vancouver
Science Center.
Conservator Erin Secord investigated a newly acquired Atomic
Shelter Medical kit with the help of CCI's Senior Technologist
Carl Bigras. X-radiographic images of the unopened kit show
that the contents are stable and the box can remain sealed for
the time being. Erin and Kendrie assembled a newly acquired
electron microscope built at the University of Toronto by
James Hillier and Albert Prebus in1938 for display at the
Science and Technology Museum.
Serge Ouellette, Mechanical Conservation Technician cleaned
and detailed Randy Bachman's recently donated 1965 Ford
Thunderbird. The car was on display at the National Arts
Center during its Prairie Scene festival, where Mr. Bachman
was a performer. Serge also prepared two University competition vehicles - an electric Snowmobile and a Solar Powered
racing car for temporary display. Serge is continuing work on
the conservation of the LaFrance Chemical Fire Engine c1914.
Steam Technology Conservator Dave Elliot prepared the Shay
Locomotive for summer operation with the Bytown Rail
Society. Dave constructed several heavy duty mounts for large
artifacts in the various Energy exhibits and continues to work
on the Cooke Refracting Telescope.
Museum interiors, changing the site's focus to the inter-war
years of the 1920s and 30s. Conservators Joan Fussell and
Laura Cunningham have had many interesting items pass
through the lab - from large figurative terracotta vases to an
ornate parlour easel. The majority of the restoration work is
now complete and Spadina Museum has been receiving
accolades from the public since reopening in October 2010.
Conservation staff also prepared a large number of artifacts for
loan to the City of Toronto Archives which are part of the
exhibition, Turning on Toronto: A History of Toronto Hydro.
This exhibit celebrates the 100th anniversary of the Toronto
Hydro-Electric System.
Joan Fussell and Laura Cuningham
Conservator Corey Stephen is working with Conservation
Technicians Lee Norris and Matthew Bruce, on a new restoration project at the Canada Aviation and Space Museum. The
Bristol Beaufighter came to us in poor condition, missing most
of its interior components and its engines. It will be restored to
a previously known Canadian-significant configuration over
the next 10 years. This project follows the successful completion of the Travel Air 2000 restoration project.
Conservator Mike Irvin continues to work with Project North
Star; a volunteer organization dedicated to the restoration of
the last remaining North Star aircraft. This aircraft, though
largely complete, was in extremely poor condition after decades
of neglect prior to our acquisition. The work is being done
largely by the volunteers; but to our internal standards of
documentation and treatment.
Please feel free to follow the CSTMC Conservation-Restoration
Division's Twitter feed, @SciTechPreserv.
Toronto
City of Toronto, Cultural Affairs
After ten years of conserving the City of Toronto's collection
of 190 outdoor art and monuments, Sandra Lougheed, formerly
Conservator of Public Art, City of Toronto, has accepted a new
position as Senior Project Co-ordinator, Cultural Assets. In her
new position she is responsible for overseeing capital projects
on the City of Toronto's Cultural and Heritage buildings. She
brings many skills acquired as the conservator of outdoor art
to her new position. Her previous position has been eliminated,
with areas of responsibility being incorporated into the work
load of other culture staff.
City of Toronto, Museum Services
Conservation and Collections staff at City of Toronto Museum
Services have been focused on the re-restoration of Spadina
Museum Historic House and Gardens. Neil Brochu, Coordinator, Collections and Conservation, worked alongside Curator
Karen Edwards, Exhibit Coordinator Chris Baker, and Registrar
Lisa Buchanan for the past three years on the project planning
and plan execution for the re-restoration of the Spadina
Waterloo
Waterloo Region Museum
Conservation staff - Richard Fuller, Conservator, and Conservation Technicians Julia Chiu and Dan Muresan - are very
busy preparing artifacts for the opening of the permanent and
temporary galleries in the new museum. There is an enormous
range of artifacts to choose from; historical domestic, agricultural, industrial and commercial objects, requiring a broad
range of stabilizing and cosmetic treatments. Philip Ower, our
Preparator/ Exhibition Fabricator is also very busy designing
and building mounts for museum artifacts. Our former intern
and now volunteer, Andrea Carswell is able to join us in the
labs one day a week. The conservation labs are filled with
treatments in process - finding a clear space for new objects is
getting difficult! Last week we received two vehicles from the
Canada Science and Technology Museum - a truck on loan and
a car returning to us - this involved most curatorial staff
orchestrating the transfer to another truck which then could
safely deliver the vehicles to the Museum. It's exciting to see
more exhibit objects arriving and being stored in the Museum
until we are able to mount them. Showcases and platforms will
start to arrive this week.
I'm working with engineers and steel fabricators to design steel
support structures for the bell tower (with bell) that will be
installed in the permanent gallery and performing treatments on
a few of our more 'unusual' artifacts, in addition to my normal
duties as a public conservator for our 1914 'Doon Heritage
Village' and Joseph Schneider Haus . It will be an intense
period of preparation as we near the opening date of the
Museum in early November but we seem to be energized by
the building momentum of this project. Outside of conservation, we extend our best wishes to Julia Chiu who will be
married on September 10th - congratulations Julia! Julia and
Dan's contracts will, sadly, finish in November. Without their
very skilled and focused dedication to the conservation tasks
at hand, the Museum galleries would certainly not be opening
this year. They will be greatly missed in the conservation labs
and generally by WRM staff.
Richard Fuller
41
Ida Pohoriljakova
Ida Pohoriljakova is a recent graduate of Queen's University in
Kingston, Ontario, where she studied the conservation of
artifacts. Ida is currently completing a one-year post-graduate
internship at the Arizona State Museum, The University of
Arizona in Tucson. She is involved in the condition assessment, re-housing, and elemental analysis of the Museum's
Southwest Indian silver jewellery collection. In October, Ida
will be commencing a nine-month fellowship at the University
of Pennsylvania Museum of Archaeology and Anthropology
in Philadelphia. She will also be travelling to Ottawa to attend
the Canadian Conservation Institute Symposium, Adhesives
and Consolidants: Research and Application. Ida will be
presenting a poster with Sara A. Moy at the Symposium about
adhesive testing at the archaeological site of KamanKalehöyük in Turkey.
Ida Pohoriljakova
42
Conferences and Training - Congrès et formation
Pest Odyssey 2011: 10 Years Later
London, UK
October 26-28, 2011
For more information visit: <URL:http://
www.pestodyssey.org>
Suction Table Workshop for Treatment of Paper
and Textiles
October 27 - 28, 2011
Vancouver, BC
Instructor: Rosaleen Hill
Registration Fee: $100.00
This two-day workshop will be developed and presented
by Rosaleen Hill, a local paper conservator in private
practice. The workshop is meant as a mid-career training
opportunity in the use of suction tables in conservation
treatments. The workshop will be held at the UBC
Museum of Anthropology conservation lab and is designed to offer conservators experience treating both
textiles and paper objects on three types of suction
tables. The focus will be on hands-on experience with an
emphasis on treatment of naturally aged objects (noncollection objects). A pre-workshop reading list and
where possible pdfs of the readings will be emailed to all
participants
Applicants will be trained conservators looking to build on
their knowledge of conservation and develop their skills.
This workshop is limited to a total of 12 participants and
spaces will be awarded on a first-come first- serve basis.
Frais d'inscription : 100 $
Cet atelier de deux (2) jours sera développé et présenté
par Rosaleen Hill, une restauratrice de papiers en
pratique privée de la région. L'atelier se veut une
formation de mi-carrière dans l'utilisation de tables à
succion pour les traitements de restauration. Il se tiendra
au laboratoire de restauration du UBC Museum of
Anthropology et a pour intention d'offrir aux restaurateurs de l'expérience dans l'utilisation de trois (3) types
de tables à succion pour le traitement de papiers et de
textiles.
Au moyen de travaux pratiques en laboratoire, l'emphase
sera mis sur le traitement d'objets vieillis naturellement
(objets qui ne sont pas de collection). Une liste de
lectures pré-atelier et, dans la mesure du possible, des
documents à lire en format .pdf seront envoyés aux
participants par courriel.
Les participants seront des restaurateurs qualifiés qui
désirent approfondir leurs connaissances en restauration
et développer leur dextérité. Le nombre de participants
est limité à 12 et ceux-ci seront sélectionnés sur le
principe du premier inscrit premier servi.
Cet atelier a été généreusement subventionné par
l'Association canadienne pour la conservation et la
restauration des biens culturels (ACCR).
Pour vous inscrire, veuillez confirmer votre intention de
participer en communiquant par courriel avec Liz
Czerwinski ([email protected]) et
envoyer votre chèque par la poste à :
This workshop has been generously funded by the
Canadian Association for Conservation.
Elisabeth Czerwinski / Conservator
Burnaby Village Museum & Carousel
6501 Deer Lake Avenue
Burnaby BC V5G 3T6
To register email Liz Czerwinski
[email protected] to confirm participation
and mail the registration cheque to: Elisabeth Czerwinski
| Conservator, Burnaby Village Museum & Carousel,
6501 Deer Lake Avenue, Burnaby, BC V5G 3T6
Playing to the Galleries and Engaging New Audiences: The public face of conservation
Atelier sur le traitement des papiers et textiles au
moyen de table à succion
Les 27 et 28 octobre 2011
Williamsburg, VA
November 14-16, 2011
For more information visit: http://www.history.org/history/
institute/institute_about.cfm
Instructrice : Rosaleen Hill
43
10th Biennial International Conference of the
Infrared and Raman Users Group (IRUG)
Barcelona, Spain
March 28-31, 2012
For more information visit: <URL:http://www.ub.edu/
IRUG10BCN>
French Bronzes: History, Materials and Techniques of Bronze
Sculpture in France (16-18th centuries)
Paris, France
June 9-12, 2012
A three-day international symposium will be held at the
Musee du Louvre and at the Centre de Recherche et de
Restauration des Musees de France.
For more information visit: <URL:http://frenchbronze.net/>
Archiving 2012
Society of Imaging Science and Technology (IS&T)
Copenhagen, Denmark
June 12-15, 2012
For more information visit: <URL:http://
www.imaging.org/ist/conferences/archiving> or contact:
Diana Gonzalez 703-642-9090 ext106,
[email protected]
10th International Conference on Indoor Air
Quality in Heritage and Historic Environments
London, UK
June17-20, 2012
For more information visit: <URL:http://www.ucl.ac.uk/
iaq2012/>
The Decorative: Conservation and the Applied
Arts
IIC Congress
Vienna, Austria
September 10-14, 2012
For more information visit: http://www.iiconservation.org/
congress/index.php
44
Why Accreditation Matters
In 1996, Karen Colby-Stothart, Carole Dignard, and
Michaela Keyserlingk published a Preprints article in the
ICOM Committee for Conservation 11th Triennial
Meeting, Edinburgh, Scotland, which discussed accreditation of conservators in Canada. At that time, it was
approximated that 20-25% of conservators in Canada
were accredited with the Canadian Association of
Professional Conservators (CAPC). Fifteen years later
and coincidentally on the 40th anniversary of the CAPC's
anniversary incorporation, I decided to haul out a piece of
graph paper, a sturdy ruler and a mechanical pencil. Xaxis on the left, Y-axis on the bottom. A function of
accredited membership vs. time. As evidenced by the
gradual climb of the graph, membership in the CAPC is
growing but not in any great Malthusian spike. Replacing
my sturdy ruler with a longer one, one can extrapolate a
promising future for accreditation of professional conservators in Canada. But given the variables conservators
deal with at the present time - everything from compromised resources to changes in demographics - what is
the true future of CAPC accreditation in our conservation community? Despite my tidy graph (replete with
some melancholic high school math class flashbacks),
this isn't a question of numbers. The future growth of
accreditation of professional conservators in Canada is
all about community, purpose and visibility.
Speaking with both prospective and active CAPC
members, the reasons for becoming accredited with the
CAPC vary greatly. I often hear several of the "10
Reasons Why You Should Join the CAPC" as motivators,
which are listed in our brochures and on our website.
For whatever the reason one may join, the result is
cumulative: Accreditation strengthens the community.
When we speak of the conservation community, there
are a number of constituents not readily apparent.
Barbara A. Ramsay-Jolicoeur's article, "Accreditation in
Conservation: Towards Professional Status", defines
these constituents as first, second and third party interests. The first party interests are the providers of the
professional services (us), the second party interests are
the clients and the third party interests are those of the
general public (also referred to as "innocent bystanders"
such as curators, artists and students). Given the growth
of social networking and media, third party interests are
rapidly playing a greater role in our community. The
profile of conservation will increasingly be in the realm of
these digital arenas, and the defining aspects provided by
accreditation can help to strategically define the field to
this group.
De l'importance de
l'accréditation
En 1996, Karen Colby-Stothart, Carole Dignard et
Michaela Keyserlingk publiaient le texte préliminaire
d'une présentation faite lors de la 11e réunion triennale du
comité de conservation (Conservation Committee) de
l'International Council of Museums (ICOM), qui avait
lieu à Édimbourg, en Écosse, qui portait sur
l'accréditation des restaurateurs conservateurs au
Canada. On estime que, à ce moment-là, de 20 à 25 %
des restaurateurs conservateurs canadiens avaient été
accrédités par l'Association canadienne des restaurateurs
professionnels (ACRP). Quinze ans plus tard, au moment
où l'ACRP fêtait le 40e anniversaire de sa constitution en
société, j'ai pris un papier graphique, une règle robuste et
un portemine. Axe des x, à gauche, celui des y à
l'horizontale, en bas. Équation pour le nombre de
membres accrédités, en rapport avec les années. Comme
le prouvait la ligne ascendante du graphique, le nombre
de membres de l'ACRP augmente, mais pas selon la
théorie malthusienne. En remplaçant ma règle robuste
par une règle plus longue, il m'est possible d'extrapoler
une tendance prometteuse pour l'accréditation des
conservateurs-restaurateurs professionnels du Canada.
Cependant, étant donné les variables avec lesquelles
doivent composer les conservateurs-restaurateurs à
l'heure actuelle - tout, des changements démographiques
aux ressources dont la stabilité n'est pas assurée - quel
avenir se dessine pour l'accréditation de l'ACRP et
l'ensemble des professionnels œuvrant dans le domaine
de la conservation? Malgré le dessin soigné de mon
graphique (rempli de quelques souvenirs mélancoliques
des cours de mathématiques à l'école secondaire), ce
n'est pas qu'une question de chiffres. L'augmentation du
nombre de restaurateurs conservateurs professionnels
accrédités au Canada repose avant tout sur la
communauté de ces professionnels, les objectifs et la
visibilité.
J'ai parlé avec des candidats potentiels à l'accréditation
et avec des membres actuels de l'ACRP : les raisons
justifiant leur adhésion à l'ACRP diffèrent grandement.
J'ai souvent entendu évoquer quelques-unes des " Dix
raisons de devenir membre de l'ACRP " comme facteurs
motivants, raisons qui sont énumérées dans la brochure
et sur le site Web de l'Association. Peu importe la raison
pour laquelle un professionnel décide de devenir membre,
le résultat est cumulatif : l'accréditation donne plus de
poids à l'ensemble des professionnels œuvrant dans le
domaine de la conservation.
45
To become accredited with the CAPC, there are a
number of application requisites prospective applicants
must complete, culminating in a peer-reviewed examination. Over the years, the CAPC has modified a number
of these steps in response to the geographic and economical constraints within the conservation community.
Once accredited, members maintain membership by
adhering to the Code of Ethics and Guidance for Practice
(updated: 2000), paying an annual fee and voluntarily
participating in the Association. It helps members and
clients connect as well as acting as a voice for Canadian
conservators on conservation issues. To be clear, the
CAPC is a self-regulating body that does not license its
members but rather seeks to assemble a certified/
accredited group that has acknowledged a set of standards and concepts to which all members adhere.
Debate over accreditation has taken many forms over
the past forty years in Canada. Many of us looked on
with great interest at the passionate exchanges during the
past few years south of the border, as the US conservation community debated accreditation. Valid viewpoints
were put forth and even though some contentious
arguments conflicted with my opinions on the matter, the
debate helped put into focus some of my reasons for
being a member. The process of becoming accredited
was initially daunting but I soon realized the value a peerbased critique gave to the meaning of my own conservation work. In preparing my application materials, I was
able to identify my weaknesses and crystallize my
strengths. Having undergone similar applications to
graduate schools, fellowships and conservation employment, I felt the examination was a continuation of my
growth as a conservator.
The conservation profession is in a constant state of
evolution - the field I entered as an authentic brunette
will not be the same one I leave as synthetic one. The
CAPC will continue to keep pace with this evolution, in
hopes to providing a firm foundation in defining our field.
Heidi Sobol,
Vice-President
Canadian Association of Professional Conservators
Lorsqu'il est question de la communauté des
professionnels œuvrant dans le domaine de la conservation, certains éléments semblent moins évidents. Dans
son article intitulé " Accreditation in Conservation :
Towards Professional Status ", Barbara A. RamsayJolicoeur définit ces éléments comme étant des intérêts
de la première, de la deuxième ou de la troisième partie.
Les intérêts de première partie sont ceux des
fournisseurs de services professionnels (nous); les
intérêts de deuxième partie, ceux des clients; les intérêts
de troisième partie sont ceux du grand public (que l'on
appelle aussi des " tiers ", terme qui peut désigner les
restaurateurs conservateurs, les artistes et les étudiants).
Compte tenu de l'importance de plus en plus grande
accordée aux réseaux sociaux et aux médias, les intérêts
de la troisième partie jouent un rôle de plus en plus
marquant dans notre société. Le profil de la profession
(conservation) (ou profil des restaurateurs
conservateurs?) sera de plus en plus présent dans les
arènes virtuelles et les précisions sur certains points
relativement à l'accréditation peuvent aussi définir, de
façon plus stratégique, le domaine d'activités d'un groupe
donné.
Pour être accrédités par l'ACRP, les futurs candidats
doivent satisfaire un certain nombre d'exigences liées à
leur demande, dont la dernière étape est un examen par
les pairs. Au fil des ans, l'ACRP a apporté des modifications à certaines étapes, pour tenir compte des
contraintes géographiques et financières de l'ensemble
des professionnels œuvrant dans le domaine de la
conservation. Lorsqu'il a obtenu son accréditation, le
membre conserve son statut s'il respecte le Code de
déontologie et Guide du praticien (dernière mise à jour :
2000), paie les frais d'adhésion annuels et donne son
apport à l'Association. Tout en établissant des contacts
entre les membres et les clients, l'ACRP défend les
intérêts des restaurateurs conservateurs canadiens sur
les questions qui touchent la conservation ou la
restauration. Il faut préciser que l'ACRP est un
organisme d'autoréglementation qui n'émet pas de
licences à ses membres, cherchant plutôt à constituer un
groupe de professionnels reconnus et accrédités, dont
tous les membres respectent l'ensemble des normes
admises.
Les discussions sur l'accréditation se sont poursuivies
sous plusieurs formes au cours des quarante dernières
années au Canada. Depuis quelques années, plusieurs
d'entre nous s'intéressent beaucoup aux débats
passionnés qui se déroulent au sud de la frontière
canadienne, alors que les professionnels œuvrant dans le
domaine de la conservation aux États Unis parlent
d'accréditation. Des points de vue valables ont été mis de
46
l'avant et, même si certains reposaient sur des arguments
litigieux qui heurtaient mes propres opinions sur une
question précise, ces débats m'ont permis de mieux saisir
les raisons qui m'ont poussée à devenir membre de
l'ACRP. Le processus d'accréditation était pour moi
déconcertant au début, mais j'ai aussitôt pris conscience
de la signification de mon travail dans le domaine de la
conservation, grâce à l'examen effectué par les pairs.
Pendant que je préparais les documents de la demande
d'adhésion, j'ai pu discerner mes points faibles et
délimiter mes points forts. J'avais fait des demandes
similaires pour être acceptée dans une école des études
supérieures, pour obtenir une bourse de recherche ou un
emploi dans le domaine de la conservation et je crois que
l'examen demeure une expérience qui m'a enrichie à titre
de conservatrice restauratrice.
La profession de conservateur restaurateur est en
constante évolution : le domaine que j'ai embrassé
lorsque j'étais une authentique brunette ne sera plus le
même lorsque je serai une " fausse " brunette. L'ACRP
suivra le rythme de cette évolution, en espérant offrir de
solides assises pour bien définir notre domaine.
Présenté par :
Heidi Sobol
Vice-présidente
Association canadienne des restaurateurs
professionnels
47
FOR IMMEDIATE RELEASE
July 8, 2011
Contact: Eryl P. Wentworth
Phone: (202) 661-8060
Email: [email protected]
The American Institute for Conservation
Offers New Conservation Resources for Collecting Institutions
Washington, D.C.-The American Institute for Conservation of
Historic and Artistic Works (AIC) has published the longawaited second edition of the AIC Guide to Digital Photography and Conservation Documentation. This book is a comprehensive guide to digital photographic equipment, software,
and processing tailored to the needs of conservation professionals. The book was created to further educate conservators
in the use of digital photographic equipment for conservation
documentation, while also addressing concerns about longterm accessibility and preservation of electronic records. It is
an essential reference for all collecting institutions in the digital
age.
Authors Franziska Frey, Dawn Heller, Dan Kushel, Timothy
Vitale, Jeffrey Warda (editor), and Gawain Weaver have more
than doubled the size of the first edition, which includes major
extensions and updates to the text and is fully illustrated with
over 120 color figures. This new edition also includes expanded information on new software, infrared and ultraviolet
photography, and nearly 40 pages of detailed instructions that
fully illustrate sample photography. Finally, this second edition
has a wraparound internal spiral binding, allowing the book to
lay flat-a request made by many readers of the first edition.
Michelle Dauberman of the Conservation Center for Art &
Historic Artifacts was among the first to use the new edition as
part of the Digital Imaging Workshop for Conservation and
Museum Professionals run by The Foundation of the American
Institute for Conservation of Historic and Artistic Works
(FAIC). Michelle said "the second edition of The AIC Guide to
Digital Photography and Conservation Documentation is a
must-have tool for anyone responsible for digital documentation. This new guide has been expanded and explores current
equipment options from various perspectives. The technical
information is clear, concise, and very thorough. It is an
excellent guide for institutions of any size, and the content can
be modified to adjust to budgets large and small. Well worth
the investment! Thank you for putting together such a useful
publication."
48
AIC is also pleased to announce the sale of AIC
PhotoDocumentation Targets (AIC PhD Targets), designed by
Dan Kushel, Jiuan-Jiuan Chen, and Luisa Casella, and produced by Robin Myers Imaging. The AIC PhD Targets provide
an easy and efficient way to include photographic reference
standards as well as image and artifact identification information. The design of the AIC PhD Targets has been carefully
planned to minimize the space occupied by this important
reference material in the image frame. Lightweight and of
robust construction, each target is fully assembled and ready
for use. Targets are provided with instructional information and
with online resources, which include a printing template for
slip-in labels for the medium and small targets.
The AIC Guide to Digital Photography and Conservation
Documentation and the AIC PhotoDocumentation Targets
(AIC PhD Targets) are both available through AIC's website at
www.conservation-us.org/store.
About AIC
The American Institute for Conservation of Historic & Artistic
Works is the national membership organization supporting the
professionals who preserve our cultural heritage. AIC plays a
crucial role in establishing and upholding professional
standards, promoting research and publications, providing
educational opportunities, and fostering the exchange of
knowledge among conservators, allied professionals, and the
public.
Learn more about AIC at www.conservation-us.org.
About FAIC
The Foundation of the American Institute for Conservation of
Historic & Artistic Works supports conservation education,
research, and outreach activities that advance the conservation profession nationally and internationally while promoting
understanding of our global cultural heritage.
Learn more about FAIC at www.conservation-us.org/foundation.
Abigail Choudhury
Development & Education Associate
Foundation of the American Institute for Conservation
of Historic and Artistic Works
1156 15th St, Suite 320
Washington, DC 20005
202-661-8070
202-452-9328 (fax)
[email protected]

SEP 2011 CAC Bulletin 7.p65 - Canadian Association for

Transcription

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