Plan Now for Conservation Grants Due January 15, 2013

19 09 2012

Here is some helpful information for those of you planning conservation projects in your institutions.  Please feel free to contact me if I can assist you in your project planning and implementation.

From the Institute of Museum & Library Services [9/19/2012 via the American Institute for Conservation (AIC)]

As we have previously reported, funding for projects that were supported previously under the Conservation Project Support (CPS) Grants program will now be included as part of the Museums for America (MFA) program. In the last two fiscal years, $2.675 million was appropriated for Conservation Project Support Grants. The good news is that even more IMLS support for conservation is possible if there are enough excellent applications.

While final guidelines have not been posted, the draft guidelines indicated that

1.      Final guidelines will be posted as soon as approved by the Office of Management and Budget. A projected date of October 15, 2012 was given. We will alert you as soon as a firm date is available.

2.      The deadline for submitting applications for FY 2013 funds is JANUARY 15, 2013.

Given that the late fall through the end of the year is a particularly busy time, we encourage everyone to begin planning now for applications for conservation support.

 

IMLS will open the Grants.gov portal and begin accepting applications as soon as it receives OMB approval. We will alert you to this as soon as we know. Additionally, IMLS staff will be offering webinars throughout the fall season to assist applicants with application preparation and to answer questions about the new guidelines.

IMLS has indicated that “applications submitted under each of these program areas will be reviewed by subject-matter experts.” And further that “in 2013, there will be no restrictions on the number of applications a museum may submit to MFA. We encourage you to read the IMLS blog.

National Endowment for the Humanities

The deadline for Sustaining Cultural Heritage Collections is December 4, 2012 for Projects Beginning October 2013. This program helps cultural institutions plan and implement preservation strategies aimed at mitigating the greatest risks to collections in ways that pragmatically balance effectiveness, cost, and environmental impact. For information and guidelines , click here.





Recovering Treasures After a Fire

27 06 2012

With fires raging across the West, thoughts turn to the heartbreak and fear of thousands of people as they evacuate their homes. One of the few ways I can offer assistance is by providing some information about what to do next if fire damage does occur.  While health and safety must come first, after a building inspector has cleared your structure, the work of recovery can begin.

Here is information from FEMA on preparedness and recovery.

Here are some very practical instructions from the Library of Congress about how to salvage your treasures.

If you represent a cultural heritage institution in the West, WestPAS can help.  From their website: “Institutions are encouraged to call for assistance as soon as possible. The emergency toll-free number 888-905-7737 will connect you with a disaster response specialist. Phone consultation is provided at no charge. If phone consultation is not sufficient, on-site assistance may be arranged with a local consultant.”

The Society of Rocky Mountain Archivists has an Emergency Resources page that is very helpful.

Stay safe everyone.





First there is a mountain, then there is no mountain, then there is.

17 03 2012

Thanks, Donovan, for the lyric.  Or a zen master. One of the two.

This post is about a bullet hole through a watercolor.  It’s about a watercolor that was the last one done by the artist before her body stopped cooperating with her enough to paint, or to go to the places from which she liked to paint.  It’s about a bullet that came through the house from the outside, traveled through the painting and on out into the house, but did not travel through the artist who would normally be standing there if it had just been 15 minutes later. This post is about fixing something more than bursting paper.  This post is about why I love this work.

Image

 





The Paper Itself, More Than What is On It

18 02 2012

Mostly, I spend more time looking at and appreciating the paper of an artifact than I do the information on it.  I can’t deny that I love the artwork, the history, the stories that people bring to me to fix, but once I commence to working, it’s the paper fibers themselves that fascinate me.  If there is paint or ink, it’s the ways those media are entangled in the fibers that absorbs my attention.

And so I adore that Tim Barrett was given a Fulbright grant and a MacArthur Fellowship to make paper, and that his work is getting the support and interest it deserves.  Here is a NY Times article.

I love this part: ““I describe the paper [Barrett-made paper] to the students,” Galvin says, “and I talk about the care, knowledge and aesthetic wisdom that went into making it. Then I tell them to go home and write something on it that makes it more interesting than it is when it’s blank.”

 

 





Interview With A Conservator

5 02 2012

Jill Whitten, of Whitten and Proctor Fine Art Conservation gives a wonderful description of the what it is that we do as conservators and how the practice of conservation continues to evolve.





There Is A Cloud Floating In This Sheet of Paper

14 01 2012

I’ve written here before about Thich Nhat Hahn and the zen of paper conservation.  Here is a lovely, simple meditation from his book Being Peace.

“If you are a poet, you will see clearly that there is a cloud floating in this sheet of paper. Without a cloud there will be no water; without water, the trees cannot grow; and without trees you cannot make paper. So the cloud is in here. The existence of this page is dependent on the existence of a cloud. Paper and cloud are so close. Let us think of other things, like sunshine. Sunshine is very important because the forest cannot grow without sunshine, and we humans cannot grow without sunshine. So the logger needs sunshine in order to cut the tree, and the tree needs sunshine in order to be a tree. Therefore you can see sunshine in this sheet of paper. And if you look more deeply … you see not only the cloud and the sunshine in it, but that everything is here: the wheat that became the bread for the logger to eat, the logger’s father … the paper is full of everything, the entire cosmos. The presence of this tiny sheet of paper proves the presence of the whole cosmos.”





All Your Shreds Are Belong To Us

14 12 2011

I’m always interested in stories about merging new technologies and old, analog and digital, human and computer teams.  Here’s a good one:  DARPA ran a contest last month, with a $50,000 prize,  in which contestants were asked to use technologies to re-assemble shredded documents. The winning team, All Your Shreds Are Belong To Us, “used custom-coded, computer-vision algorithms to suggest fragment pairings to human assemblers for verification.   In total, the winning team spent nearly 600 man-hours developing algorithms and piecing together documents that were shredded into more than 10,000 pieces.”    Here are some photos.   The forum discussions look pretty interesting.

Yeah, I think that type of help could come in handy for re-assembling  letters destroyed by iron-gall ink such as those in my photo above.  And I’d like to know more about those mysterious “human assemblers” and their techniques!








%d bloggers like this: