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Getting Started: A Shared Responsibility. Caring for Time-Based Media Artworks in Collections.

November 6, 2017

Workshop

fromdu 11 June 2018 toau 15 June 2018

Organized by:Organisé par :
The Museum of Modern Art, United States

Location of event:Lieu de l’événement : New York City, United States

More info:Plus d’infos : URL

Description :
Does your institution have a collection of time-based media artworks in need of a long-term preservation plan? Are you uncertain where to get started? This five-day hands-on workshop will provide an in-depth overview of the processes and workflows which can be implemented at collections without dedicated time-based media conservators. Participants will leave with the knowledge and tools to design and execute action plans at their institutions.

Caring for time-based media art collections is widely acknowledged as a pan-institutional endeavor requiring direct involvement from curatorial, conservation, audio visual, IT, registration and collection care staff. This collaboration will be reflected throughout the curriculum as well as in the workshop application itself which requires a pair of colleagues from each applying institution. This workshop specifically requires that a curator and collection care specialist apply together as these positions have the expertise and authority to advocate for proper collection stewardship. The curriculum will cover activities pertaining to acquiring, exhibiting, installing, documenting, and advocating for media artworks.

Requirements for Application: This workshop is open to pairs of applicants: one curator and one conservator/collection care staff member (conservator, audio visual technician, collection specialist or manager, etc.) directly responsible for the care of the time-based media art collection. Priority will be given to institutions who are actively acquiring, with mid-sized media artwork collections that have significant needs, and require in-house staff training. Participants are expected to attend the full week-long program.

How to Apply: Applicants must provide a joint letter of interest (1,000 words maximum), and one letter of institutional support from the Director, or equivalent level. Co-applicants must be permanent members of staff (full or part-time) and each must provide a CV. Additionally, applicants must complete one online Collection Data Form. Applications which do not meet all requested requirements will not be considered.

The letter of interest must include: 1) why participation in this workshop is important to the collection; 2) a brief history of the media art collection; 3) candidates’ work with the media art collection to date; 4) how this workshop directly applies to applicants’ day-to-day work; 5) evidence of institutional commitment such as working groups, any specific initiatives or surveys, and demonstrable institutional desire to take action; and 6) prior experience with the topic or lack thereof as well as any relevant conferences or workshops attended on related topics.

Travel and lodging expenses may be reimbursed, based on need. Please submit a basic budget of anticipated costs as part of the application. There is no fee for this workshop; English will be the language of instruction. Applications should be submitted to Allison_Spangler@MoMA.org no later than January 16, 2018 with notifications expected by early to mid March. For more information: www.mediaconservation.io.

This workshop is part of The Museum of Modern Art’s Media Conservation Initiative, generously funded by The Andrew W. Mellon Foundation. The Media Conservation Initiative seeks to advance new strategies for the field of time-based media art preservation and restoration.

Registration deadline: 16 January 2018


Archiving 2018: Digitization Preservation, and Access

November 2, 2017

Call for papers and/or posters

fromdu 17 April 2018 toau 20 April 2018

Organized by:Organisé par :
The Society for Imaging Science and Technology, United States

Location of event:Lieu de l’événement : Washington, DC , United States

More info:Plus d’infos : URL

Description :
DEADLINE EXTENDED!!
You now have until November 13th to submit your Abstract or JIST-first paper for Archiving 2018!

ABOUT THE CONFERENCE
Join an international community of technical experts, managers, practitioners, and academics from cultural heritage institutions, universities, and commercial enterprises, to explore and discuss the digitization of 2D, 3D, and audiovisual materials, as well as the preservation of and access to digitized materials.

PROGRAM TOPICS
Digitization of 2D, 3D, and AV materials
l New developments in digitization technologies and workflows
l Advanced imaging techniques and image processing, e.g. multispectral imaging, 3D imaging
l Large scale/mass digitization and workflow management systems
l Quality assurance and control of digitization workflow, e.g., targets, software, automation, integration
l Integration of linked open data (LOD) Preservation / Archiving of 2D, 3D, and AV materials
l Formats and systems for preservation of digitized materials
l Management of metadata
l Standards and guidelines
l Archival models Access of 2D, 3D, and AV materials
l Dissemination and use of digitized materials, e.g. rights management, crowd sourcing, data mining
l Policies, strategies, plans, and risk management
l Business and cost models
l Formats for preservation and access
l Deep learning algorithms to improve search results
l Open access and open data strategies

General Chair
Don Williams,
Image Science Associates (USA)
Program Chair
Lukas Rosenthaler,
University of Basel (Switzerland)
Short Course Chair
Jeanine Nault,
Library of Congress (USA)

Submission of abstracts deadline: 30 October 2017


Solvents and Paint Films: the practical ramifications

October 31, 2017

Workshop

fromdu 23 April 2018 toau 25 April 2018

Organized by:Organisé par :
Stichting Restauratie Atelier Limburg (SRAL), The Netherlands

Location of event:Lieu de l’événement : Limburg, The Netherlands

More info:Plus d’infos : URL

Description :
Solvents and Paint Films: the practical ramifications by Gwendoline R. Fife
23rd – 25th April 2018
at
SRAL Studios, Wiebengahal,
Avenue Ceramique 224, 6221 KX Maastricht, The Netherlands

Overview
The aim of the workshop is to support practitioners in their practical applications of solvents. This will be achieved by providing a review of knowledge with an overview including recent research into solvent effects, current findings into solvent application techniques, and an open forum for discussions covering workshop participants’ questions, practical experiences and opinions regarding solvent choices and application.

Content
Review of:
• Matter and Energy – the basis of everything, and why anything ever happens (atoms, molecules, ions, molecular/ionic models, interactions and reactions.)
• Organic solvents, solvation, and the influence of environment.
• Dissolution and Rate – Will it dissolve? How fast?
• Conceptual models for solvent behaviour.
• Applications in Conservation.
• Potential solvent effects on paint films.
• Applications in practice.
• Treatment adaptations.
• Assessing risk – practical testing approaches.
Selecting treatment strategies.
A more detailed description of the workshop is available on request.

Instructor:
Since 2005 Gwendoline R. Fife has worked at SRAL where she is a senior (practicing) conservator and lecturer. After graduating in chemistry (BscHons, York university, 1994), she trained in easel painting conservation at the Courtauld Institute of Art in London (PGDipCons, 1997). Following her subsequent Mellon Fellowship (Walters Museum, Baltimore, 1998-2001) she worked in various museum and private conservation studios in the USA, Ireland, UK and The Netherlands prior to her current position.

Workshop fees:
Standard: € 550,00

Deadline for registration: 15 March 2018

Workshop fees will include lunches.
Registration forms are available at info@sral.nl and www.sral.nl
Numbers are limited to 15 participants and are allocated on a first come basis.
Discount bookings for accommodation at Townhouse Design Hotel only through SRAL.
Organisers: Kate Seymour and Siska Losse

Stichting Restauratie Atelier Limburg (SRAL) is a leading institute specialised in the conservation and restoration of paintings, sculptures, contemporary artworks and historic interiors. We provide an integrated approach to conservation issues through research, consultancy and education.

Registration deadline: 15 March 2018 earlybird


Modern Resins for Varnishing and Retouching

Workshop

fromdu 19 March 2018 toau 21 March 2018

Organized by:Organisé par :
Stichting Restauratie Atelier Limburg (SRAL), The Netherlands

Location of event:Lieu de l’événement : Limburg, The Netherlands

More info:Plus d’infos : URL

Description :
Modern Resins for Varnishing and Retouching
Jill Whitten, Robert Proctor & René de la Rie
19th – 21st March 2018 at SRAL Studios (Wiebengahal)

Address: Avenue Ceramique 224, 6221 KX, Maastricht
Tel: 0031 43 321 8444

Contact: Siska Losse (secretariat): info@sral.nl
Website: www.sral.nl

Instructors
René de la Rie (University of Amsterdam & CRCC, Paris) received M.S. and Ph.D. degrees in chemistry from the University of Amsterdam (UvA), The Netherlands. He is currently chercheur associée at the Centre de Recherche sur la Conservation des Collections (CRCC/CNRS), Paris and a guest researcher at the UvA. He was head of the scientific research department at the National Gallery of Art, Washington, DC from 1989 until 2012, a position endowed by the Andrew W. Mellon Foundation. He has also held positions at the Metropolitan Museum of Art, New York, and at the Training Program for Conservators (now UvA) and the Central Research Laboratory for Objects of Art and Science (later ICN, now RCE), both in Amsterdam. He has been an adjunct professor at the University of New York and the UvA and served as Ph.D. advisor at the latter institution. He was an editor for the journal Studies in Conservation on from 1994 un l 2011 and has published extensively.
Jill Whitten and Robert Proctor have been in private practice in Houston, Texas since 1998. They work on private and institutional collections.
Jill Whitten received a Bachelor of Fine Arts in Studio Art at the University of Texas, Austin. She studied conservation at Buffalo State College, where she received a Master of Arts and a Certificate in Conservation. She has worked as a conservator and undertaken resin research at the Art Institute of Chicago, J. Paul Getty Museum and the National Gallery of Art. She treated a collection of paintings by Frederic Remington at the Museum of Fine Arts, Houston. Since 1993 she has been lecturing and teaching workshops on resins for varnishing and retouching in North and South America and Europe.
Robert Proctor has a Bachelor of Arts in Art History from Tulane University in New Orleans and a Master of Arts and Certificate of Conservation from Buffalo State College. He trained in Munich at the Bayerisches Nationalmuseum, worked at the Saint Louis Art Museum, Indianapolis Museum of Art and Museum of Fine Arts, Houston. In addition to workshops on varnishes, Rob is a specialist in the reweaving of tears and has taught workshops on reweaving. He has worked as a contract conservator and treated a number of public murals.

Overview
Many different materials have been used for varnishing and retouching. Traditionally, natural resins were primarily used for this purpose. In the 20th century synthetic polymers were introduced. These are often chemically and physically more stable than their natural counterparts. The optical properties of varnishes are however largely controlled by their molecular weight. By using synthetic low molecular weight resins for varnishing and retouching, an appearance similar to that obtained using natural resins can be achieved. Factors affecting stability and appearance, as well as application methods and solvents suitable for these new resins, will be discussed. Continue reading…


International Conference on Heritage and Identity

October 30, 2017

Call for papers and/or posters

fromdu 23 March 2018 toau 26 March 2018

Organized by:Organisé par :
Interpret Europe (European Association for Heritage Interpretation),

Location of event:Lieu de l’événement : Koszeg, Hungary

More info:Plus d’infos : URL

Description :
Who are we and where do we belong? All human beings will ask these questions at some point in their lives. Answers often depend on what people consider to be their heritage and how they interpret it. In the European Year of Cultural Heritage 2018, Heritage and Identity will be the theme of the Interpret Europe (European Association for Heritage Interpretation) Conference to take place in Koszeg, Hungary, on 23 – 26 March 2018. The conference is organised by the Hungarian Association of Cultural Heritage Managers (KOME). This association’s aim is to create platforms which help experts of various domains – engaged in the research, preservation, social utilisation, protection and distribution of broadly defined cultural heritage – to meet and learn from each other, to find partners, share ideas and realise their own projects in accordance with the association’s objectives. KOME believes that the values identified as heritage cannot persist without a community committed to them.

The deadline for the submission of paper abstracts is 15 December 2017.

For more information, please contact Conference Manager Arpad Boczen at arpad@heritagemanager.hu or visit http://www.interpreteuropeconference.net/call-for-papers

Submission of abstracts deadline: 15 December 2017


Workshop: Technical Photography

October 25, 2017

Workshop

fromdu 24 January 2018 toau 26 January 2018

Organized by:Organisé par :
Stichting Restauratie Atelier Limburg (SRAL), The Netherlands

Location of event:Lieu de l’événement : Limburg, The Netherlands

More info:Plus d’infos : URL

Description :
Workshop: Technical Photography
Dr Antonino Cosentino
Cultural Heritage Science Open Source (CHSOS)
24th – 26th January 2018 at SRAL Studios
*Overview***
SRAL will host the CHSOS three day training workshop on ‘Practical Methods for Art Examination’. CHSOS serves an international audience of art professionals: conservators, art historians, and conservation scientists. Its technical innovations and strategies are being adopted by museums and cultural institutions worldwide. CHSOS disseminates this knowledge through the CHSOS website, publications, and training programmes.

CHSOS training programmes teach practical methods for Art Examination and Documentation. The modules illustrate imaging and spectroscopy methods regularly used by cultural heritage scientists and conservators for the scientific and forensic investigation of art objects.

All the training modules have hands-on activities and students practice with the CHSOS equipment.

The ideal audience is made of art and archaeology professionals: conservators, conservation scientists, art appraisers and fine art photography. No specific educational background is necessary. CHSOS courses are designed for a large audience ranging from art professionals to scientists.

A Technical Photography documentation consists of a collection of scientific images realised with a modified digital camera sensitive to the spectral range about 360-1000 nm. Each image provides just a bit of information but all together they represent the most practical and successful methodology to study art and archaeology.

www.chsopensource.org

*Training modules***
CHSOS offers instruction on these methods:

Technical Photography (TP), Panoramic Infrared Reflectography (PIRR), Reflectance Spectroscopy (RS), ReflectanceTransformation Imaging (RTI) and Multispectral Imaging (MSI).

This 3-day training program will present all the methods:
1st day. Technical Photography
2nd day. Infrared Reflectography, Reflectance spectroscopy, RTI
3rd day. Multispectral Imaging

*Instructor Biography***
The Training program will be run by Dr Antonino Cosentino. CHSOS’s director. Dr. Antonino Cosentino is a Ph.D. physicist specialized in Art diagnostics who has taught”Scientific Methods for Art Investigation” in Europe and US. He is an expert in imaging and analytical techniques which he has carried out on important works of art for European and American Institutions and private collectors. For more information on his scientific work visit Dr. Cosentino on Researchgate , Linkedin , and Academia.edu or check out our publications .

*Workshop fees*
Standard: EUR 750.00

Deadline for registration:
15 December2017

Workshop fees will include lunches.
Registration forms are available at info@sral.nl
and www.sral.nl

Numbers are limited to 15 participants and are allocated on a first come basis.

Discount bookings for accommodation at Townhouse Design Hotel only through SRAL.

Organisers: Kate Seymour and Siska Losse

*Stichting Restauratie Atelier Limburg (SRAL) *is a leading institute specialised in the conservation and restoration of paintings, sculptures, contemporary artworks and historic interiors. We provide an integrated approach to conservation issues through research, consultancy and education.


Getting started: a shared responsibility : Caring for time-based media artworks in collections

Workshop

fromdu 11 June 2018 toau 15 June 2018

Organized by:Organisé par :
The Museum of Modern Art’s Media Conservation Initiative, United States

Location of event:Lieu de l’événement : New York, United States

More info:Plus d’infos : URL

Description :
Does your institution have a collection of time-based media artworks in need of a long-term preservation plan? Are you uncertain where to get started? This five-day hands-on workshop will provide an in-depth overview of the processes and workflows which can be implemented at collections without dedicated time-based media conservators. Participants will leave with the knowledge and tools to design and execute action plans at their institutions.

Caring for time-based media art collections is widely acknowledged as a pan-institutional endeavor requiring direct involvement from curatorial, conservation, audio visual, IT, registration and collection care staff. This collaboration will be reflected throughout the curriculum as well as in the workshop application itself which requires a pair of colleagues from each applying institution. This workshop specifically requires that a curator and collection care specialist apply together as these positions have the expertise and authority to advocate for proper collection stewardship. The curriculum will cover activities pertaining to acquiring, exhibiting, installing, documenting, and advocating for media artworks.

Requirements for Application: This workshop is open to pairs of applicants: one curator and one conservator/collection care staff member (conservator, audio visual technician, collection specialist or manager, etc.) directly responsible for the care of the time-based media art collection. Priority will be given to institutions who are actively acquiring, with mid-sized media artwork collections that have significant needs, and require in-house staff training. Participants are expected to attend the full week-long program.

How to Apply: Applicants must provide a joint letter of interest (1,000 words maximum), and one letter of institutional support from the Director, or equivalent level. Co-applicants must be permanent members of staff (full or part-time) and each must provide a CV. Additionally, applicants must complete one online Collection Data Form. Applications which do not meet all requested requirements will not be considered.

The letter of interest must include: 1) why participation in this workshop is important to the collection; 2) a brief history of the media art collection; 3) candidates’ work with the media art collection to date; 4) how this workshop directly applies to applicants’ day-to-day work; 5) evidence of institutional commitment such as working groups, any specific initiatives or surveys, and demonstrable institutional desire to take action; and 6) prior experience with the topic or lack thereof as well as any relevant conferences or workshops attended on related topics.

Travel and lodging expenses may be reimbursed, based on need. Please submit a basic budget of anticipated costs as part of the application. There is no fee for this workshop; English will be the language of instruction. Applications should be submitted to Allison_Spangler@MoMA.org no later than January 16, 2018 with notifications expected by early to mid March. For more information: www.mediaconservation.io.

This workshop is part of The Museum of Modern Art’s Media Conservation Initiative, generously funded by The Andrew W. Mellon Foundation. The Media Conservation Initiative seeks to advance new strategies for the field of time-based media art preservation and restoration.

Registration deadline: 16 January 2018


AIC 46th Annual Meeting : 2018 STASH Flash Storage Tips session

October 24, 2017

Call for papers and/or posters

fromdu 29 May 2018 toau 02 June 2018

Organized by:Organisé par :
American Institute for Conservation AIC, United States

Location of event:Lieu de l’événement : Houston, TX, United States

More info:Plus d’infos : URL

Description :
CALL FOR SUBMISSIONS STASH Flash V

To complement AIC’s 46th Annual Meeting conference theme, the 2018 STASH Flash Storage Tips session will focus on the interplay between the material composition of artifacts and the materials chosen for the construction of storage and support solutions. The program covering storage solutions for all collection types has been scheduled as part of the Collection Care session and will be followed by additional talks related to storage rehousing. The program will utilize a lightening round or ‘Tips’ format as well as guided, audience participatory discussion. We are calling for contributions of short (5 minute) tips on the following themes:
An item’s composition will affect the materials chosen for storage as well as the design. How is your storage solution guided by the relationship between collection materials and storage materials?
Quality materials appropriate for long-term storage are expensive. How have you adapted economical non-archival materials to make them safe for use in a storage solution?
Do you have a tips on a new material that will expand our range of choices for storage?
Innovative storage solutions for individual artifacts or collection groups that do not conform to either theme will be accepted if space allows.
Presenters will be asked to show up with their solution in a ready format for uploading to the STASH website (www.STASHc.com) after the conference.
To submit your ideas please send a short abstract including the following information to Rachael Arenstein (rarenstein@conservation-us.org ) or Lisa Goldberg (lgoldberg@stny.rr.com ) by December 22, 2017.
Name:
Institution/Affiliation/Title:
Email:
Object/collection type:
And a description of approx. 150 words on the project
Thank you from the session organizers,
Lisa Goldberg, STASH Editorial Committee Chair
Rachael Arenstein, AIC e-Editor
Karen Pavelka, Collection Care Program Chair
Gretchen Guidess, Collection Care Program Committee

Submission of abstracts deadline: 22 December 2017


The Cultural Heritage of Europe @ 2018 Re-assessing a Concept – Re-defining its Challenges

Call for papers and/or posters

fromdu 04 June 2018 toau 05 June 2018

Organized by:Organisé par :
LabEx « Écrire une Histoire Nouvelle de l’Europe », University Paris-Sorbonne, France

Location of event:Lieu de l’événement : Paris, France

More info:Plus d’infos : URL

Description :

Today’s globalized concept of cultural heritage is often understood as a product of European modernity with its 19th-century emergence of territorially fixed nation-states and collective identity constructions. Within the theoretical overlap of the disciplines of history (of art), archaeology and architecture cultural properties and built monuments were identified and embedded into gradually institutionalized protection systems. In the colonial context up to the mid-20th century this specific conception of cultural heritage was transferred to non-European contexts, internationalized in the following decades after the WWII and taken as universal.
Postcolonial, postmodern and ethnically pluralistic viewpoints did rightly question the supposed prerogative of a European Leitkultur. Only rather recently did critical heritage studies engage with the conflicting implications of progressively globalized standards of cultural heritage being applied in very local, non-European and so-called ‘traditional’ contexts. However, in order to bridge what academia often tends to essentialize as a ‘Western’ and ‘non-Western’ divide of opposing heritage conceptions, a more balanced viewpoint is also needed in order to update the conceptual foundations of what ‘cultural heritage of/in Europe’ means today.
The European Cultural Heritage Year 2018 – a campaign with unquestioned assumptions?
Right at the peak of an identity crisis of Europe with financial fiascos of whole nation states, military confrontations and refortified state borders at its continental peripheries with inflows of refugees from the Near East and the Global South did the European Council and Parliament representatives reach a provisional agreement to establish a European Year of Cultural Heritage in 2018. With affirmative slogans such as “We Europeans” and “our common European heritage”, the campaign intends to “raise awareness of European history and values, and strengthen a sense of European identity” (Press release of the European Council, 9 February 2017). However, with its unquestioned core assumption of the validity of Europe’s territorial status with simply interconnected borderlines of its affiliated member states and of a given collective ‘we’-identity within the European Union, this cultural-political campaign risks to miss the unique chance of a critical re-assessment of how a ‘European’ dimension of cultural heritage can be conceptualized in today’s globalized and inter-connected reality. Continue reading…


Urban Regeneration and Sustainability (URS)

Call for papers and/or posters

fromdu 05 February 2018 toau 08 February 2018

Organized by:Organisé par :
IEREK International Experts for Research Enrichment and Knowledge Exchange, Egypt

Location of event:Lieu de l’événement : UEL, University of East London, United Kingdom

More info:Plus d’infos : URL

Description :
🔊 If you are a #Researcher or #Academic interested in urban Regeneration, architecture, green building, green infrastructure, landscape, alternative energy, urbanism and sustainability.
Here is your opportunity to meet with the folks in your field and share your research paper, join us at the international conference of Urban Regeneration and Sustainability #URS
📝 Register Online & Submit your #abstract

For more information & registration
For conference Topics: goo.gl/BFrpYF
Conference Email:
✉ urs@ierek.com

Submission of abstracts deadline: 05 June 2018


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The ICCROM Classifieds are a service to the professional institutions of our Member States. The Classifieds list announcements on conservation-related topics and events from around the world. They are made available to ICCROM's public solely for informational purposes. Posting of items in the Classifieds does not imply endorsement by ICCROM. Job fraud is a worldwide concern. Please consult this page at ReliefWeb for some tips to stay away from fraud: http://reliefweb.int/job-fraud.