Catalog Advanced Search
Silver Image Chemistry and DeteriorationContains 2 Component(s) Includes Multiple Live Events. The next is on 06/14/2021 at 3:00 PM (EDT)
Monday, June 14 and Friday, June 18 at 3-5pm Eastern Time, instructed by Scott Williams and Douglas Nishimura
Monday, June 14 and Friday, June 18 at 3-5pm Eastern Time
Instructors: Scott Williams, Douglas Nishimura
This workshop is designed to provide an in-depth discussion on the unique chemical properties and vulnerabilities of silver image material. This information will be of great interest and use to anyone involved in the appreciation and preservation of silver-based photographic materials. The workshop will include two complimentary sessions on the chemistry of silver image formation and silver image deterioration. Participants with a general understanding of chemistry will be anticipated, but not required.
Since its inception, photographic images were created using a variety of different materials, substrates and processes. Most of these photographic evolutionary steps were founded on image capture using silver chemistry. This first session will be presented by Scott Williams, professor at the School of Chemistry and Materials Science at Rochester Institute of Technology. It follows the photographer’s workflow from image capture to preservation through the lens of a chemist. Connections will be made between the chemistry of each process step as the photographer would practice and observe them; thereby, closing an important loop that bridges photographer with chemist, and chemist with photographer. Emphasis will be on the main image making process steps: substrate sensitization to light using silver halide, the light capture process at the silver halide grain level, exposure effects, image development, and ending with the processes that maintain a silver photographic image over time. This two-hour session is intended as a companion to the online series of self-study modules presented by the FAIC Collaborative Workshops in Photograph Conservation on Photographic Chemistry for Preservation, offering a broad overview of this fascinating topic and providing invaluable face-to-face time with instructor, Scott Williams. It is suggested that participants complete the series of online lectures prior to the workshop.
The second session will be presented by Douglas Nishimura, Research Scientist at Rochester Institute of Technology, who will discuss mechanisms involved in silver image deterioration and likely causes in collections. Typically, silver image deterioration is divided into two general causes: poor processing and oxidation from environmental sources. The idea that all silver image deterioration is caused by poor processing has its roots in the severe fading of photographs in the 19th century that led to the formation of the Fading Committee of 1855. By the 1970s and 80s it was commonly believed that if a silver photograph was deteriorating then it must have been improperly processed. However, James Reilly, former Director of the Image Permanence Institute, noted that examples of poor processing in collections weren’t very common. Certainly, potential external causes of silver deterioration are numerous. The problem of silver image deterioration is very complex. As noted by former Kodak silver stability expert, Art Hertz, image silver must be surrounded by silver ions in equilibrium so that oxidation of image silver can be caused by reduction of the surrounding silver ions.
Professor of Physical and Inorganic Chemistry
Scott Williams is Professor of Physical and Inorganic Chemistry at Rochester Institute of Technology. Professor Williams is one of an ever-smaller group of individuals with expertise in photographic chemistry. This profound knowledge, combined with his thoughtful and lively teaching style, make for an easy-to-follow presentation of this potentially complex topic. This course is a fount of information essential to understanding the silver-based analog photographic processes represented in so many private and public collections around the globe.
Conservation Through Transformation: Keeping performance art alive in the museumContains 2 Component(s) Includes Multiple Live Events. The next is on 06/07/2021 at 12:00 PM (EDT)
Monday, June 7 and Friday, June 11 at 12-2pm Eastern Time, instructed by Louise Lawson and Helia Marcal
Monday, June 7 and Friday, June 11 at 12-2pm Eastern Time
Instructors: Louise Lawson, Helia Marcal
This workshop will draw on the practice of conservation developed at Tate to explore the material possibilities afforded by the care of performance art. Instructors will focus on their documentation processes to reflect on how the situatedness of the museum frames the documentation that is produced and the purposes of said documents. Participants will participate in exercises of re-situating practices, where forms of data collection and analysis will be framed through case-studies and discussion, using key tools developed, as well as how to adapt these tools and develop bespoke strategies for their own institutions.
Documenting performance art seems to be a conundrum that is particularly hard to resolve. Tate started to collect this form of artistic practice in 2005 and has since acquired over 25 performance artworks that range from simple instruction-based works to performances that depend on bodily and material engagements that are hard to understand and even harder to capture. With the aim of safeguarding a whole collection to generations to come, the museum’s structure is keen to create categories and other processes of standardization. However, performance art often challenges those standards and categories. What are the affordances of the museum to the documentation of performance art? And how can we re-situate museum practices to accommodate non-conforming bodies of practice? This workshop will provide participants with an understanding of the challenges that performance art poses to conservation professionals and recognize how performance art plays with notions of care, authenticity, sameness, and transformation.
Louise Lawson is Conservation Manager for Time Based Media Conservation at Tate. She is responsible for the strategic direction, development and delivery of all aspects relating to time-based media conservation at Tate. This requires working across a wide range of projects and programs: exhibitions, displays, acquisition, loan-outs and collection care initiatives. Her current work and research is focused on the documentation and conservation of performance-based artworks within Tate Collection. This has involved developing documentation tools and a conservation strategy to support how works enter, live and evolve in the collection. Louise has spoken at a range of conferences, with recent papers on the documentation and conservation of performance considering themes such as conservation as living process, unfolding interactions and transmission of knowledge.
Hélia Marçal is Lecturer in History of Art, Materials and Technology. Prior to this appointment, she was the Fellow in Contemporary Art Conservation and Research of the research project Reshaping the Collectible: When Artworks Live in the Museum, at Tate, London (2018-2020). She is the Coordinator of the Working Group on Theory, History and Ethics of Conservation of the Committee for Conservation of the International Council of Museums (ICOM-CC) since 2016.
Her current research interests are positioned within feminist new materialisms, material histories of activist artworks, ethics and performativity of cultural heritage, the conservation of time-based media and performance art, and both the materiality of contemporary art and the ways it is positioned and negotiated by museum, heritage, and conservation practices. Drawing on feminist epistemological lenses, she often explores issues of performativity, participation, partiality, and positionality in both her research and teaching.
She has published about conservation theory and ethics, embodied memories and the body-archive, and public policies of participation and stewardship of cultural heritage, having been awarded the Taylor & Francis and ICON Outstanding Contribution Award in 2017. Her recent book project looks at current forms of activist performance to interrogate the wider politics of conservation of cultural heritage in the public sphere.
How to Label and Mark Your CollectionsContains 1 Component(s) Includes a Live Web Event on 05/07/2021 at 12:00 PM (EDT)
Friday, May 7 at 12-2pm Eastern Time, instructed by Eugenie Milroy and Fran Ritchie
Friday, May 7 at 12-2pm Eastern Time
Instructors: Eugenie Milroy, Fran Ritchie
Discretely and effectively labeling and marking museum collections with the catalog number (and/or other details) prevents one of the leading risk factors to collections: disassociation of objects. Museum collections must be legibly labeled for the purposes of keeping track of the physical location as well associated data and provenance specific to that object. If the label is not legible, if it is lost or damaged, or if it fails in any way, the consequences can be catastrophic and disheartening - at best, the number is visually distracting to the museum visitor and detracts from the value of the object, and at worst the object is rendered useless to scientific or historical study.
This workshop will prepare participants for the decision-making process involved when choosing among the variety of techniques available to label complex collections. Instructors will begin with an overview of the standard materials used for labeling and marking, and how to choose which method would be most appropriate, based on the object substrate (such as organic, inorganic, over-sized, micro, and wet specimens). Participants will be mailed kits with course materials that will allow them to then test the adhesive and mechanical techniques on different objects, with instructors on hand virtually to offer advice and tips for success in the moment. The workshop will conclude with a group discussion on observations and questions.
This workshop is geared towards natural history museum professionals and emerging conservation professionals who have not had labeling and marking experience – a valuable but often overlooked aspect of conservation training. Cost of materials is included in registration fee. Registration will close on March 19 to allow for supplies to be ordered and sent to participants.
Eugenie Milroy is a Professional Associate member of the American Institute for Conservation with over 20 years of museum and conservation experience. She has held positions at the American Museum of Natural History, the Metropolitan Museum of Art, and the Brooklyn Museum of Art, and worked with private clients for over 10 years before co-founding A.M. Art Conservation in 2009. Eugenie’s conservation treatment experience ranges from archaeological and ethnographic to modern collections. Eugenie studied art conservation and art history at New York University’s Conservation Center/Institute of Fine Arts and, after completing her conservation internship at the Cloisters branch of the Metropolitan Museum of Art in June 1999, she completed a fellowship in the Anthropology department of the American Museum of Natural History where she continued to work until June 2004. She has worked as an on-site conservator at archaeological excavations in Mochlos, Crete and at Poggio Civitate, (Murlo) Italy. She carried out student internships at New York’s Museum of Modern Art (MOMA) and the National Park Service among other institutions. Eugenie received her B.A. in Art History from Barnard College, Columbia University. Eugenie is also involved with New York City’s Alliance for Response group, which connects emergency responders with representatives of the cultural heritage community to strengthen disaster mitigation and response capabilities.
Fran Ritchie is an Objects Conservator at Harpers Ferry Center, focusing on the conservation of natural history materials and decorative arts for sites across the National Park system. Fran graduated from the Art Conservation program at Buffalo State College and holds an MA in Museum Anthropology from Columbia University. She currently serves as the Objects Specialty Group Chair and is a Member-at-Large and Conservation Committee Co-Chair for the Society for the Preservation of Natural History Collections. Fran has taught workshops on the conservation of mammalian taxidermy in New York City, Denver, and in New Zealand, and has taught conservation strategies for natural science collections at New York University’s Conservation Program. She is a Professional Associate of AIC.
Identification and Preservation of Archival MaterialsContains 2 Component(s) Includes Multiple Live Events. The next is on 05/04/2021 at 3:00 PM (EDT)
Tuesday, May 4 and Thursday, May 6 at 3-5pm Eastern Time, instructed by Tatiana Cole and Allison Holcomb
Tuesday, May 4 and Thursday, May 6 at 3-5pm Eastern Time
Instructors: Tatiana Cole, Allison Holcomb
Archives often contain crucial documentation which supports the understanding and context of museum collections. Caring for these collections appropriately is important to long-term access and maintenance but is often complicated by the wide variety of needs from different types of materials. Identifying media and choosing the right solutions for housing can help prevent physical and chemical damage, as well as maintain organization and facilitate handling.
This workshop will allow participants to identify archival materials and plan for long-term preservation. The instructors will provide an overview of preservation threats to different types of archival collections with emphasis on identifying media and preventing deterioration and loss of information. Oversized materials, photo-reproductions such as blueprints and diazotypes, a variety of office copying techniques, and photographic media will be discussed.
This workshop will incorporate current standards and best practices to help collection managers, emerging conservation professionals, and other museum professionals master identification, preventive conservation, and housing for archival materials.
Tatiana Cole is a conservator of photographs and works on paper with over eight years of experience. She has a private practice in the Greater Boston Area, in addition to holding the position of Paper Conservator at the Boston Athenaeum. Previously, she was Associate Conservator of Photographs at The Better Image in NYC, and Fellow in Photographs Conservation at the Amon Carter Museum in Forth Worth, TX. Tatiana holds a M.S. from the Winterthur/University of Delaware Program in Art Conservation. She has completed internships in photograph conservation at the Metropolitan Museum of Art, Paul Messier LLC, and Harvard University’s Weissman Preservation Center, where she also spent time working with the Audiovisual Preservation Program and the Harvard Film Archive.
Allison Holcomb Is a Book and Paper conservator at Harpers Ferry Center. Allison graduated from the Winterthur / University of Delaware Program in Art Conservation. She has been a conservator with Harpers Ferry Center for five years working with collections throughout the National Park Service. Prior to that she worked in special collections at Northwester University Library and Harvard’s Weissman Preservation Center, as well at the Conservation Center for Art and Historic Artifacts.
Strategic Management of CollectionsContains 2 Component(s) Includes Multiple Live Events. The next is on 05/04/2021 at 12:00 PM (EDT)
Tuesday, May 4 and Thursday, May 6 at 12-2pm Eastern Time, instructed by Robert Huxley, Carol Butler, and Christiane Quaisser
Tuesday, May 4 and Thursday, May 6 at 12-2pm Eastern Time
Instructors: Robert Huxley, Carol Butler, Christiane Quaisser
This workshop will help managers (new and established) with responsibility for collections to adopt an evidence-based approach to planning, executing and achieving their goals. The instructors will share their management experience, tools, and methodologies with participants through role-play and presentations to help them ask the right questions when planning a project or make improvements to day-to-day collections work. Participants step through the elements of a strategic plan from gathering and interpreting supporting data to creating an action plan, focusing along the way on key areas such as data gathering and interpretation and maximizing staff resources.
This workshop brings the voices and the strategic approaches of three experts who have managed some of the largest and most diverse natural history collections in the world to participants seeking insight into strategic decision making beyond the typical rule book. While the primary audience for this workshop is those from a collections management background, the majority of the content will be of value to conservators with management responsibilities and those entering the sector from other disciplines or research background. It is about asking the right questions, not necessarily knowing all the answers.
Carol Roetzel Butler is the Assistant Director for Collections at the Smithsonian’s National Museum of Natural History, and serves as a member of the Director’s executive management team. She leads the planning, development, funding, direction and management of the museum’s collections as well as tracking and reporting upon their use. She supervises the Office of the Registrar, the Conservation and Biorepository staffs, and a central team of technical staff. She leads the work of the Museum’s Collections Committee, considering issues of policy, assessing the collections to inform significant planning efforts, development of funding proposals, and critical collections issues. Drawing upon her experience in advising employees, supervisors and management on sensitive personnel problems and staff organization, Ms. Butler also contributes to the Smithsonian’s leadership development programs by serving as a mentor and rotational supervisor. Ms. Butler was the lead designer and faculty member for the Smithsonian’s Latin American and Caribbean Collections Management Training Program; additionally, she has provided extended training to museum professionals from Iraq, Oman, Sri Lanka, India and Pakistan. She serves a consultant and trainer related to collections for museums worldwide. She represents the museum within the Smithsonian Institution, and in national and international collections communities, contributing to the development of improved practices and better understanding of the importance of collections. Recent work includes foundational action that created the Global Genome Biodiversity Network (GGBN). She serves on GGBN’s Executive Committee and is Chair of its Policies Taskforce. Ms. Butler has been leading a collections working group of twelve natural history museums that have resulted in a high level Collections Dashboard. Her current interests are in collections assessment, developing means of describing collections as resources, encouraging best practices in tracking the uses of collections, and in developing communities for broad collaborations.
Robert (Rob) Huxley was Head of Botanical Collections at the Natural History Museum (NHM) in London for 21 years where he led the team managing the NHM’s 5.2 million plant and fungal specimens. Educated at Liverpool and London Universities he gained his PhD in taxonomy and ecology of marine algae and attained post-graduate qualifications in Continuing Education at Greenwich University and in recent years in Coaching and Mentoring Practice at Oxford Brookes University. Rob initially worked in marine science research before venturing into the museum sector firstly managing a museum and heritage project in North Wales before joining the NHM in 1987 firstly working in exhibitions development then collections management from 1990. Rob led and participated in many national and international projects carrying out reviews and assessments, building networks, developing new methods and providing training in collections management several European countries and Kenya. Rob coordinated the networking activities of the EU-funded SYNTHSEYS project (2003-2015) and led the development of the EUColComp competency framework. Along with René Dekker and Christiane Quaisser, Rob was a member of the Consortium of European Taxonomic Facilities (CETAF) , Collections Policy Board. Rob has been a member of board of CETAF and the Natural Science Collections Association (NSCA). From 2002-2004 Rob was President of the Society for the Preservation of Natural History Collections and now sits on the editorial boards of the Journal of Natural Science Collections and the Journal of the History of Collections. He has a strong interest in the history of natural history leading to publications such as The Great Naturalists. He is now a Scientific Associate at the NHM, an Honorary Curator at World Museum Liverpool. Rob is the lead author of Managing Natural Science Collections: a guide to strategy, planning and resourcing.
Christiane Quaisser is a biologist by profession and has a background in ornithology. After her PhD on the impact of agricultural land-use on the breeding success of birds, she started her museum’s career as a trainee in the bird collection of the natural history museum in Dresden (SE Germany) in 1999. Scientific projects on nomenclatural and taxonomic problems with types brought her to major bird collections in Europe for research studies, e.g. to Leiden, Paris, Vienna, and London. In 2007 she moved on to collections management, worked first as a project coordinator at Naturalis in Leiden, from 2009 onwards at the Museum für Naturkunde in Berlin. In 2013, she became Head of Collections, in 2014 Head of the Science Programme Collections Development and Biodiversity Discovery. From the beginning her work has focused on collections development in a broader sense and strategies in management and development of natural history collections to improve their standards, accessibility and relevance. Considering networking as key success factor, she initiated a European working group of Directors of Collections dealing with common principles and standards, was involved in several European collections projects, e.g. on digitization, staff development and integration of infrastructures and chair of the Local Organizing Committee of the conference of the Society for the Preservation of Natural History Collections (SPNHC) in Berlin 2016. Her current research interests are focussing on conservation science, e.g. deteriorations processes in mammal skins.
Stressed About Pests? Integrated Pest Management for Heritage Preservation ProfessionalsContains 2 Component(s) Includes Multiple Live Events. The next is on 05/03/2021 at 3:00 PM (EDT)
Monday, May 3 and Wednesday, May 5 at 3-5pm Eastern Time, instructed by Rachael Perkins Arenstein and Patrick Kelley
Monday, May 3 and Wednesday, May 5 at 3-5pm Eastern Time
Instructors: Rachael Perkins Arenstein and Patrick Kelley
Integrated Pest Management (IPM) now considered an essential component of a well-rounded preventive care policy to prevent insects and vertebrate pests from causing irreversible damage to cultural heritage collections. This workshop will introduce participants to multiple aspects of sound IPM policy and procedures. After covering ideas for reducing the likelihood of infestation, the focus of the workshop will be on identifying the most damaging museum pests and understanding treatment options for infested items. The workshop is designed for anyone needing an intro to the topic or wanting to refresh basic IPM knowledge. Co-taught by an entymologist/pest management professional and a conservator, this workshop is appropriate for a range of museum, library professionals including conservators, facility staff, collection managers, registrars, librarians and archivists at museums, libraries and archivists.
Rachael Perkins Arenstein
Rachael Perkins Arenstein is a partner in A.M. Art Conservation, LLC a private practice in the New York area with a specialization in preventive care. She has implemented and conducted IPM programs in institutions of various sizes in the U.S. and abroad. She worked on the Smithsonian’s National Museum of the American Indian Move Project and its extensive pest management program from 2001-2004. She is a founding member and current Co-Chair of the Integrated Pest Management Working Group which created and supports the www.museumpests.net website and the PestList listserv. She has held positions at the Bible Lands Museum Jerusalem, NMAI, the Peabody Museum of Art & Archaeology, the American Museum of Natural History amongst others. Her conservation degree is from the Institute of Archaeology, University of London.
Pat Kelley, the President of Insects Limited, has over 30 years of experience in professional pest management. He is a Board-Certified Entomologist with a MS in Entomology from the University of Nebraska. He currently heads the IPM strategies for several large museums and is a consultant to the museum industry on pest management issues performing training and lecturing for museums and historic houses all around the United States and Europe. He is the Chair of the Identification Aids subgroup for the Integrated Pest Management Working Group. and co-author of a chapter on Pheromones in the Mallis Handbook of Pest Control, 10th Ed. Pat has a MS in Entomology from the University of Nebraska and an undergraduate degree in Geology from Purdue University.
Building Imaging WorkflowsContains 2 Component(s) Includes Multiple Live Events. The next is on 05/03/2021 at 12:00 PM (EDT)
Monday, May 3 and Wednesday, May 5 at 12-2pm Eastern Time, instructed by Jennifer McGlinchey Sexton
Monday, May 3 and Wednesday, May 5 at 12-2pm Eastern Time
Instructor: Jennifer McGlinchey Sexton
This workshop will provide instruction and facilitate discussion about building an imaging workflow for conservation. Imaging workflows are an important part of conservation documentation because they provide consistency, require critical evaluation of goals, help new employees understand practices of a lab, and save time. Designing a workflow can be cumbersome and overwhelming. This workshop aims to simplify the structure of a workflow by providing building blocks that allow participants to tailor the structure to their needs and equipment. With a focus on treatment photography, discussion and lecture will emphasize object safety, repeatability, accuracy, and flexibility.
Lecture and case-studies will give participants the basic structure and outline of an imaging workflow. Between the two sessions, participants will work independently or in groups to build a workflow for their unique equipment, space, and goals. Discussion of individual workflows in the second session will deepen participants' understanding of diverse imaging scenarios and equipment.
This workshop is appropriate for all specialties and levels of experience. Individuals tasked with imaging of collections will benefit most, including emerging and established conservation professionals, pre-program students, and conservation photographers in institutions or private practice. Previous experience with photography of collections is suggested. Participants should come to the workshop with a list of current equipment used, descriptions and photographs of imaging spaces, and be prepared to discuss the goals of imaging in their work.
Jennifer McGlinchey Sexton
Jennifer McGlinchey Sexton is a conservator in private practice in Colorado. She specializes in photographs, works on paper and conservation imaging. She serves museums, institutions, and private individuals in the West and throughout the United States. A member of Mountain States Art Conservation, she works in collaboration with conservators of varied specialties whenever possible. Trained as a fine-art photographer, Jennifer became interested in conservation through exploration of historic photographic processes. Her graduate training at Buffalo State College allowed her to explore additional aspects of photography as a medium and a tool for conservation. She gained experience as a conservator and photographer in positions at MFA, Houston, Williamstown Art Conservation Center, the J. Paul Getty Museum, the Detroit Institute of Arts, the Buffalo Bill Center of the West, the Menil Collection, and Paul Messier LLC. For the 2019-2020 academic year, was a full-time lecturer for “Technical Examination and Documentation” at the Garman Art Conservation Department, Buffalo State College.
C2C Care Course: Planning and Managing Magnetic Media Preservation ProjectsContains 1 Component(s) Includes a Live Web Event on 03/04/2021 at 1:00 PM (EST)
With this 5-part course, participants will learn how to plan for projects involving the preservation of magnetic audio or video tapes.
Through demos, case studies, and practice, participants at small and mid-sized institutions will learn how to evaluate their institutional capacity to carry out audio or video tape preservation; analyze information contained in inventories to develop a project scope; calculate both digitization and storage costs; decide on preservation file types; and adopt recommended practices for safeguarding the files and metadata. Participants will then be introduced to finding a vendor and preparing for/managing an outsourced project, along with post-digitization quality assurance to make sure you got what you paid for.
Participants should come with a basic understanding of magnetic media formats and their relevant risk factors, as well as knowledge of common considerations for analog media storage. If a refresher is needed, the Preservation Self-Assessment Program Collection ID Guide provides detailed information about different analog media formats and their risks, and the Image Permanence Institute’s Media Storage Quick Reference is a useful tool for understanding recommended storage conditions for different types of media. Also, ideally, participants will have an inventory for a collection they wish to preserve or will be able to generate a sample inventory during this course. Where possible, participants are encouraged to complete an inventory with a minimum of 10 audio or video tapes–this can be an organizational collection or a personal collection. An inventory template will be provided once registration is complete.
This webinar is a live C2C Care Course that will run through March 1 to April 2, 2021. Webinars will occur once a week (exact dates TBD), be recorded, and will occur on the Zoom Webinar platform. Close captioning will be available during the live webinar component and a transcript will be provided afterwards.
Webinar 1: Introduction: Evaluating organizational readiness
During this webinar, participants will be introduced to the first steps in developing a magnetic media preservation plan. They will learn how to evaluate their institutional readiness and capacity for carrying out a project from beginning to end. The broad magnetic media format categories will be covered along with factors of their obsolescence and production history, and how those factors may impact the scope of a project. This webinar will also introduce the importance of a good inventory, and how it is utilized throughout the lifecycle of a digitization project.
Webinar 2: Preparing for digitization
In this session, we will review recommended file formats for magnetic media digitization and how to identify destination file formats for your project. Selecting destination file formats for both long-term preservation and audience access impact many steps in the project, especially planning for digital storage. In a demonstration, we will also walk through the elements of an inventory and how to calculate anticipated storage needs and estimate costs based on inventory findings.
Webinar 3: Working with a Vendor Part 1
The session will cover how to select a vendor and begin working with them. We will discuss how the inventories created prior to this session can be used to begin a dialogue and provide a template for the vendor to capture the metadata you require. A case study on a media digitization project for which a vendor was contracted will be presented. The case study will cover how the organization determined a project was required and how they prepared for it, as well as the workflow the organization and the vendor established.
Webinar 4: Working with a Vendor Part 2
In the previous session, we discussed how to establish a relationship and workflow with a vendor. In this one, we will go over the process of quality assessment: the steps required once the media is returned and the digital files and metadata are received. This webinar will introduce the tools and resources one can use to assess the quality of the deliverables and how to determine the staff time and labor to dedicate to this process. Not all digital media players are created equal! This session will also touch on the basic requirements to consider when creating a long-term preservation plan for the digital files, though please be aware that it is beyond the scope of this course to provide a comprehensive presentation on long-term digital storage.
Webinar 5: Creating a digitization program “in-house”
Depending on the quantity of media, the formats, and the condition of the materials, an on-site preservation project or local collaboration can be a more cost-efficient and time-efficient option. Again utilizing an inventory, this final session will cover the requirements for establishing an on-site “digitization station” including how to select the necessary equipment and identify a location for the setup. We will also look at ways to collaborate with local organizations to share costs and labor. A case study will be presented, which will demonstrate how an organization determined an on-site program was the best option, and how they advocated for and implemented on-site preservation program.
At the end of this course, participants will:
- Be familiar with the overall process of magnetic media preservation from selection through the transfer process and post-digitization tasks
- Be able to evaluate your organization’s readiness and capacity to carry out magnetic media preservation project
- Understand the importance of data collected in a media inventory or catalog to preservation planning and implementation
- Utilize information from a media inventory to refine the selection, scope and costs of a preservation project as well as needed storage
- Distinguish recommended preservation file formats and factors involved in their selection
- Gain knowledge of the criteria for vendor selection and key points in the management of the preservation process
- Be familiar with the requirements for setting up a digitization program on-site or in collaboration with local partners
- Understand the necessary post-digitization steps for quality control
- Be introduced to recommended practices for safe storage of the files and preservation metadata
Registration Fee: $149
Early registration (before February 12th): $99 (no discount code needed)
Our Course Coordinators are Kristin MacDonough (she/her), Assistant Conservator of Media, Art Institute of Chicago and Mona Jimenez (she/her), Media Arts Consultant, Materia Media
Connecting to Collections Care courses are made possible in part by generous support from the Institute of Museum and Library Services.
Introducing STiCH: Life Cycle Assessment Project Update and Sneak PeekContains 1 Component(s) Includes a Live Web Event on 02/11/2021 at 12:00 PM (EST)
February 11, 12 p.m. EST, webinar
Join us for an update on the progress of the Sustainability Tools in Cultural Heritage (STiCH). The three co-directors - Sarah Nunberg, Matthew Eckelman and Sarah Sutton - along with Northeastern University PhD candidate Sarah Sanchez will present their work to date on this two-year project funded by National Endowment for the Humanities.
Topics covered during the webinar will include: background of the project, placing the goals of the project within overall cultural heritage sustainable practice goals, a brief introduction of life cycle assessment, a display of a preliminary, demonstration version of the LCA Tool, and a description of case studies that will populate the Library. The presentation will be followed by a question and answer/discussion session.
The webinar is free but requires registration.
Physical Grain MorphologyContains 14 Component(s)
The eighth course in the Photographic Chemistry series consists of seven units, each including a video lecture and self-assessment quiz, as well as access to the discussion forum.
The Photographic Chemistry series was initiated by FAIC in 2015, with funding from the National Endowment for the Humanities and The Andrew W. Mellon Foundation. This series explores key elements of photographic chemistry that are essential to understanding the nature of silver-based analog photographs, their creation, and their deterioration mechanisms. These topics are critical for photograph conservators, but also of interest to photographers, artists, collectors, and other photography enthusiasts. This series of online self-study modules includes video lectures and quizzes on specific topics in the chemistry of photography. Each course contains about 5 – 15 units; each units includes a 3 -10 minute video lecture and a brief self-assessment quiz. Study at your own pace and repeat units as needed!
Funding for this program comes from The Andrew W. Mellon Foundation fund for Collaborative Workshops in Photograph Conservation. Additional funding comes from the Foundation of the American Institute for Conservation of Historic and Artist Works Endowment for Professional Development, which was created by a grant from The Andrew W. Mellon Foundation and is supported by donations from members of the American Institute for Conservation and its friends. Courses are made possible with the assistance of many AIC members, but no AIC membership dues were used to create or present this course.
The Collaborative Workshops in Photograph Conservation Advisory Committee (2015-2020)
- Theresa Andrews - San Francisco Museum of Modern Art
- Luisa Casella - West Lake Conservators
- Alisha Chipman - Library of Congress
- Monique Fischer - Northeast Document Conservation Center
- Molly Gleeson - Penn Museum
- Dana Hemmenway - Center for Creative Photography
- Debra Hess Norris - Winterthur/University of Delaware Graduate Program in Art Conservation
- Nora Kennedy - The Metropolitan Museum of Art
- Saori Lewis - Nelson-Atkins Museum of Art
- Krista Lough - Krista Lough Art Conservation, LLC
- Stephanie Lussier - Hirshhorn Museum and Sculpture Garden
- Laura Moeller - Strange Stock Art Conservation
- Tania Passafiume - Library and Archives Canada
- Millard Schisler - Photograph Conservator
- Margaret Wessling - National Gallery of Art