A Registrar’s Hack: Puss in Boots

You all know that in a perfect museum everything is at the right place at the right time. Unfortunately, this isn’t a perfect world, hence: no perfect museum. So, part of a registrar’s job is to improvise. Find bug fixes, workarounds and substitutes, use common sense and sometimes parts from your local DIY store. Often, you use your experiences from your everyday life to apply them to you museum work. Just now I discovered that it also works the other way round.

Recently, my cat fell from great height onto something very rough and hard, we suspect from a scaffold, roof or building crane to the asphalt road. As a result her back paws were torn open, she ruined her claws and lost two of them. The vet bandaged the legs, but when she tried to walk with it, she always slipped on our parquet floor. Well, as you might imagine from the accident, it isn’t my cat’s idea of fun to lie around doing nothing. So she kept on walking and slipping. That’s when my registrar’s brain started thinking…

Like most collections people I have a private supply of gloves: nitril, latex, cotton, leather… for every purpose the right glove. Among these are those handy little things most of you will know:

gloves

Not suitable for all purposes, for the little pimples on them are made from vinyl, but the right ones for carrying around something with a very smooth, slippery surface. In my case, it was the other way round: they should carry something on a slippery floor.

I sacrificed two thumbs to have improvised socks I could pull over the bandage.

socks1

Later I fixed them with some sticking plaster to hold them in place. Now, she still isn’t exactly a happy cat, she’s still a little insecure with the bandages (pun intended: she’s all thumbs with her rear legs…) but can walk around without slipping again.

Puss in Boots

Case solved.

Angela

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Straying from the path: a book about wallpaper

The great thing about being a museum professional is that you never know when and where the skills you learn along your path will be needed in the future. This is a story about it.

A few months ago I discussed with Robert M. Kelly an article he was writing for a journal. Having dealt with museum texts a number of times before I was able to give some hints. I guess all of you who ever wrote or edited exhibitions and catalog texts know what it means to use the surgeon’s knife on filler words or the butcher’s ax on whole passages to make a text fit into the given word count…

When we were through, Bob asked me to help him on a book he was writing. A book about wallpaper. The early years of wallpaper.

I said: „Bob, I’m a collection manager, I don’t know anything about wallpaper and I’m no native speaker.“
Bob said: „Yeah, exactly what I’m looking for.“
Sometimes I’m glad that most conversations nowadays are via email, because if he had asked if it’s okay to ship the Mona Lisa via [insert favorite parcel service] I would have given him exactly the same facial expression.

Anyway, now, exactly 9 months after I started to read the first sentences of the manuscript the book is out and I’m proud as hell!

Backstory of Wallpaper book face

Why should I read a book about wallpaper, you ask?

Well, there are many good reasons: wallpaper is on the walls of historic houses and we have to care about it just the same as we care about the furniture, the carpets and the other artifacts. We might have wallpaper in our collections, as brand-new rolls that were never delivered and installed, as fragments being rescued from destroyed houses, as wallpaper pieces inventoried by mistake as lining paper (or vice versa) or as study collection for design questions. As always: the more you know about something, the easier it is to care for it.

But this is not a book about conservation or registration issues. It tells the social and economic story of how wallpaper was made in the early days, how it was sold and how it became popular on the walls in Europe and the North American colonies. And it’s a book about people.

We meet people who made, sold, bought and installed wallpaper. We meet Jean-Michel Papillon , who did the wonderfully detailed descriptions and drawings of the craft intended for Diderot’s Encyclopédie (some to be seen in the book) – but was forced into this trade by his father and turned his back on it as soon as he could. Thomas Coleman who began selling wallpaper in London and later moved over to the American colonies to do the same. Catharine Mac Cormick who was one of the few installers we know by name, representing the countless female and male paperhangers who didn’t leave a mark in the records.

Following the traces of people makes the book easy and fun to read. While it is a book about the history and technology of wallpaper, it is not a dry one. It’s a journey into the past.

Now, as I continue my journey on the path of a collection manager and museum professional, I am very curious when and where the skill of having helped a book about wallpaper to see the light of day will be needed in another project. In the meanwhile, I will have a picture of a wallpaper as a wallpaper on my screen….

 

Angela

 

The book is available in every bookstore:

Robert M. Kelly: The Backstory of Wallpaper. Paper-Hangings 1650-1750. Published by Wallpaperscholar.com, hardcover, 190 pages.
ISBN-10: 0985656107
ISBN-13: 978-0985656102

You can take a look inside here:
http://www.amazon.co.uk/The-Backstory-Wallpaper-Paper-Hangings-1650-1750/dp/0985656107/ref=sr_1_1?ie=UTF8&qid=1378396917&sr=8-1&keywords=Backstory+of+wallpaper

This post is also available in Dutch, translated by Jiska Verbouw, in Zulu/Ndebele, translated by Phineas Chauke and in French, translated by Marine Martineau.

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Collections and Exhibitions – a Symbiotic Relationship

by Anne T. Lane

Installing an exhibition is teamwork. Thanks to Matt Leininger for the picture.

Installing an exhibition is teamwork. Thanks to Matt Leininger for the picture.

An exhibition may be conceived in a number of ways. Usually the idea is first, and the text and artifacts are brought together in support of the idea. Sometimes an artifact or group of artifacts embodies an idea, and the rest of the exhibit is built around them. Sometimes, in order to be bomb-proof or portable, an exhibition is done entirely with graphics, and it is images of the objects that support the idea. Whether the objects are part of the museum’s collection or are to be borrowed from another institution or individual, the collections department becomes part of the equation early in the process.

Choosing of candidates from among available objects is first a matter of research – into the database, into the holdings of potential lenders. A list of possibilities is given to collections staff who bring them out for the curator and exhibition designer to see. Each item is evaluated not only for suitability in telling the story, but for its condition and its vulnerability to the stresses of handling and light exposure. Sometimes mere size or weight are limiting factors, or whether or not the item can be protected from curious visitors who don’t recognize the damage their handling can cause.

Once choices are made, a series of steps is followed in order to prepare the items for exhibition. Condition reports are updated or written, and images made to support them. The exhibition designers must know sizes and lighting requirements in order to determine casework and placement, as well as the possible need for rotation of vulnerable items. Collections staff in turn must determine what mounts or supports to construct to ensure stability of each object. Both exhibition designers and collections staff must have a thorough knowledge of acceptable materials for a safe exhibition environment. This includes not only casework, mounts, and coatings, but also graphics substrates and inks, and adhesives.

Just in case... the registrar makes sure the lights are alright. Thanks to Abbi Kaye Huderle for the picture

Just in case… the registrar makes sure the lights are alright. Thanks to Abbi Kaye Huderle for the picture

Installation is always a joint project. In order for it to go smoothly, everyone has to know where and when each piece is to go in. Staff and volunteers work together to transport items from storage to the gallery, clearing the path and opening and closing doors as needed. Once any objects are in the gallery, someone has to be there at all times to keep unauthorized people from wandering in. Mounts and isolating material are placed, objects are installed, and then lighting levels must be adjusted. Exhibitions staff up on ladders, collections staff on the floor, work to aim and control light levels so the objects are clearly illuminated but not endangered by too much light. The comfort of the public must also be taken into account, as a brilliant light striking into a visitor’s eyes from across the gallery is a serious flaw. A last polish of plexi vitrines, and the opening can take place.

Even after an exhibition is buttoned up, exhibits and collections staff must check regularly that vitrines are clean, that nothing has been jarred out of place, that visitors haven’t found ways to handle or disturb the objects, and that light levels are properly maintained. Collections staff also inspect for evidence of pests. If anything is found to be awry, it is reported to the appropriate department and remedied with as little disturbance to the exhibition as possible.

This text is also available in French translated by Marine Martineau, in Russian translated by Arina Miteva and in Italian, translated by Silvia Telmon.

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The Next Generation

I’ve always said I don’t like taking work home however I’ve always found saying that is easier than accomplishing it!

When I first started out in this industry, I was what you would call a backstage roadie dealing with the logistics of international exhibitions with a well known company in Spain. I found that gave me a very different perspective when I went to museums in my own free time. I’d notice if things were not hung level, when labels were missing, when the support to a piece looked funny and even when the paint job was a little off.

If I had worked on a show I’d know all the details of what really went on behind the scenes. Despite the beauty or importance of a piece, if something had delayed it’s arrival or an issue had arisen with it it’s all I would be able to focus on (though seeing it in its spot made me sigh with relief). If i hadn’t worked on the show I wondered how things had been packed, handled an transported. What crates were used/ built?

Most people don’t notice clearance levels in hallways, stairwells or door frames but I did. There was no avoiding looking at access points and loading docks differently, no matter where I went! I know what fits and what doesn’t on standard international palletized flights and whenever I’m on a plane I can’t help but wonder what that belly holds apart from luggage.

My husband likes to say I’m a little bit of a control freak so the shoe fits with this industry. When I transferred over to the museum side my experience helped me greatly and my slightly OCD side was complemented in my day to day tasks as a Collections Manager/ Registrar. In front of me I had a whole collection that needed TLC. The thought of re-organizing, re-housing and properly inventorying everything was like throwing a kid in a toy store!

I didn’t realize just how much my job influenced my life until I one day when my daughter was sorting through some stickers and did this:

iPhone2

It was then that I realized why no babysitter was ever able to follow my toy storage technique. All musical toys go in one bin, all sorting/ stacking toys go in another bin, toys that roll in another and so on. I was bringing work home and passing it on to my littles! Suddenly I realized why she liked to neatly stack coasters and freaked out in stores when items were off their shelf and on the floor. I knew then I had a very important responsibility: to train the next generation!

I’m hoping I’ll be able to live up to the task, at least that way her room will be clean and she’ll understand the importance of a proper IPM plan!

Maria C. O’Malley

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A Survey on Journals, Magazines and Newsletters for Registrars

I recently started a survey on journals, magazines and newsletters for conservators. The aim was and is to gather a comprehensive list of information sources world wide.
Until today there doesn‘t seem to exist anything alike and I believe that it will contribute to better information and networking among museum professionals.

Since registrars are gaining importance and taking over duties that where formerly carried out by conservators I believe it’s interesting and important to collect sources for registrars too, broaden the horizon and interlink both groups alike.

There are, at the time I’m writing these lines, 46 journals listed in a database that I made available online. Only a handful of them are covering topics that are interresting for registrars.
You can make the difference! Please help me to collect online and ofline resources for registrars.

The datbase is available online: http://83.150.7.6/fmi/webd#magazines_for_conservators_and_registrars
> Login as Guest “Gastkonto” to browse and search the entries.
> Login as “Editor” and use “contribute” as passphrase to add or edit entries.
> You may also write me a mail (a.franz[at]divisual[dot]net) with your suggestions and recommendations.

Thank you very much!
Yours
Andreas Franz, dipl. Conservator FH/SKR

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A registrar’s toolkit

springcleaningA registrar needs a whole bunch of materials to work with. They may vary from museum type to museum type and from working setup to working setup, but in 2013 a brainstorming among registrars on the RC-AAM listserv put together a list of useful tools and supplies that covers the needs for many registrar’s duties. The Registrar Trekkers (authors and translators of this blog) had a look at this list and added some more items. After we finished our brainstorming we give the list to you, our readers. Feel free to add what is missing in the comments section and we will update the list from time to time.

 

Working setup:

Lightweight Toolbox
Camera
LED Flashlight
Extra batteries
Small Notebook or Tablet PC
A good computer software! We don’t normally think of software as a “tool,” but without it, cataloging is impractical and making the catalog available to others is impractical to impossible.
Plastic plank or board for support of notebook or paper
Trolley

 

Personal setup:

Apron (or lab coat)
Nitrile Gloves
Cotton Gloves
Dust mask
Fisherman’s vest (with multiple pockets)
Optivisor (2x)

 

Tools:

Inspection Set (Telescoping, includes magnetitic pick-up, LED mini light, alligator clip, LEXan mirror, magnifier)
Pencil Sharpener
Fine Sewing Needle
Curved needle
Measuring Calipers
Fabric Tape Measure
Metal tape measure
Anti-static brush
Paint Brushes (3 size)
Blower Brush (Small)
Blower Brush (Med)
Cotton Swabs
Tweezers (5 pc Basic Set)
Bone Folder
Photo Scale (Set of 2)
MultiTool
A smallish self-healing cutting mat
A cork-back stainless steel ruler.
high-quality snap-blade knife, knife with exchangeable blades (i.e. X-Acto, Olfa…)
high-quality all-around scissors (i.e. Dahle…)
Embroidery scissors
Fabric Scissors (is there a difference to am embroidery scissor?)
scissor to cut sticky tape

 

Consumable Supply:

White Viynl Eraser
2H Pencils (12 ct)
All-Stabilo Pencil White
All-Stabilo Pencil Black
Tyvek Tags (2″x3″) 100 ct
Acid-Free Artifact Tags (1.5″ x 3.5 “) 100 ct
Spunbonded Reemay (25 ct.)
Twill Tape (1/2”) 36 Yard
Mercerized white cotton and black cotton thread
Cotton Balls
Knife Blades (5 ct)
B-72 Base Coat (Fluid)
Wash Bottle (For Dis. H2O)
Methyl Cellulose (1.5 oz) (some people prefer other adhesives)
Jar, Specimen (Mix Methyl Cellulose)
Plastic Bags
Velcro brand hook-and-loop fastening – non-adhesive (can be cut to size)

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Lazy Dad – understanding the behavior of acid gases in buffered paper enclosures

The problem of how acid gases behave with buffered paper enclosures is interesting and not quite what we might expect. Most of us, even industry scientists working on stability issues, have learned that buffered paper reacts with acid gases and therefore prevents them from passing right through. Some of later heard that maybe buffered paper enclosures won’t necessarily protect the object inside from external acidic gases, but buffering will at least protect the enclosure and make it last longer (and as a physically protective armor, this should be good for the object as well.)

Well, the first problem is to sort out what this buffer is. The Oxford Concise Science Dictionary defines a buffer as “A solution that resists change in pH when an acid or alkali is added or when the solution is diluted.” Since we need to keep our paper enclosures relatively dry, a buffer in paper doesn’t fit the scientific definition of the term. ISO 18902 Imaging materials – Processed imaging materials – Albums, framing and storage materials, uses the term “alkali reserve” instead of “buffer”.

Certainly the typical things that we expect to find as buffers in paper are all “alkalis” by definition. These may include alkaline earth carbonates such as calcium and magnesium carbonate or some metal oxides such as zinc oxide. If we add an alkali like sodium hydroxide (lye) or sodium carbonate or borax, to the pulp solution, they’ll dissolve in solution and disperse into the paper. Much of it would come out with the water being drained from the pulp and the rest just affects the pH of the paper. Generally, as acids entered the paper, the pH of the paper would simply go down. So while these substances are alkalis, they aren’t reserves of alkali. The reserve aspect is accomplished by using alkalis of low solubility so they have a minimal impact on the pH of the paper, but are still available to react with acids. For example, if we start with pure water at 25 degrees C, we should be able to dissolve 0.007 grams of calcium carbonate into a liter of water. Just as a reference, the paper industry says that they produce common office photocopy paper with the intent that it leaves the mill with a water content of 5% by weight so a typical sheet of this paper contains about 0.2 grams of water, enough water to dissolve 0.000001 grams of calcium carbonate.

So rather than being dispersed through the paper, the alkali reserve exists as discrete particles in the paper at a rate of typically 2% or 3% by weight.

The final piece of the problem consists of the acid vapor molecules and how they move. Gas molecules move randomly so we have no idea what any individual molecule is doing at any particular time (unless we specifically watch it). Fortunately there are statistical rules that allow us to predict the behaviour of a large number of gas molecules. However, we’re interested in individual molecules. Buffer particles have no attractive force pulling acid gas molecules towards themselves so whether or not an acid gas molecule happens to run into a buffer particle is completely a result of random chance. There are a very large number of random paths through the buffered paper that don’t end at a particle of the buffering agent and as a result, acid gases can pass right through the paper. In addition, acids and buffer particles can co-exist in the paper.

We first observed this back in the 1990s following a nitrogen dioxide fuming experiments with photographs in buffered paper envelopes. In the presence of water, nitrogen dioxide forms nitric and nitrous acids with the nitrous acid decomposing into nitric acid and nitric oxide. Much to our surprise, the paper envelope had both a high acidity and a high alkali reserve together. Years later, the same thing was observed in experiments with deteriorating acetate film with buffered paper envelopes: high acidity and high buffer content coexisting in the same envelope paper.

After explaining how a system with static buffer particles and randomly moving acid gas molecules could produce this situation, a colleague suddenly exclaimed, “It’s lazy dad!”

As my colleague explained, lazy dad is sitting in front of the television and doesn’t want to miss a minute of the game. (Fill in your favorite sporting event here.) Lazy dad, the buffer particle, isn’t going to move unless the house burns down. Meanwhile, the kids, the acid gas molecules, are running wild through the house. They don’t particularly care where they’re running, they just want to run around. Nothing is going to change this system unless a child happens to run too close to dad who will then scoop the child up (react) and tell the child to “knock it off and stop running in the house.” There are many random paths for the children to run that don’t happen to go near dad and they aren’t going to stop unless they run into (react) Lazy dad. Lazy dad isn’t going to chase the children so Lazy dad and the running children can co-exist in the same house (paper.)

Note that other solid additive in paper have the same limitations. For example, we filter our air in certain labs using activated charcoal supported on pleated paper and the filters more or less obey the same physical laws, although there are a few differences. The filters have fans blowing large volumes of air through the filters so molecular motion isn’t limited to strictly random movement and the loading of charcoal is much higher than a few percent. The filters are pretty black with charcoal. However, at a lower loading rate and without the fan, these filters would be limited by the same physical laws as buffering in buffered paper.

So buffered paper envelopes don’t quite do what we expect them to and it’s because of the laws of nature rather than a design failure of the product.

-Doug

Douglas Nishimura

Image Permanence Institute

Rochester Institute of Technology

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Then they were 20…

Picture by Nico Kaiser http://www.flickr.com/photos/nicokaiser/

Picture by Nico Kaiser via flickr

On July 8 we called out to the world that we are in need of translators. The reaction was overwhelming. When we called out we were four authors Matthew Leininger, Anne T. Lane, Fernando Almarza Rísquez and myself and three translators, Liliana Rêgo, Araceli Galán and Georgia Flouda.

Within one and a half week our little team of seven grew to twenty! They came from nearly all cardinal directions and a broad range of professions:

There are the museum studies and museology students Patrícia Melo from Portugal and Carolina Vaz from Brazil.

Then I’m glad we have a professional translator on board: Salvador Martínez lives in Spain and translates Spanish/French and Spanish/English for a living, but agreed to lend us a hand for free!

Then the great colleagues who work in the jobs this blog is all about: Maria O’Malley, the Collections Manager/Registrar at the Southstreet Seaport Museum in New York, Lucía Villarreal, the Exhibitions Registrar at the Museo del Prado in Madrid and Cleopatra, the Registrar of a photography collection in a Folklore Research Institute in Greece and Sylviane Vaucheret, the Documentation Officer for Natural History at the National Museum of Ireland.

Then two colleagues from the profession that is closest to our own in respect of philosophy, viewpoints and aims: Molly Hope is a textile conservator from New York who already translated for the Ixchel Museum of Textiles in Guatemala and Rosana Calderón, is a Senior Conservator at the National History Museum of the National Anthropology and History Institute in Mexico.

And I’m especially glad an proud of the four colleagues that looked over the fence of their own professions and are willing to help us, because museum work is always a combined effort, no matter if you work in collections, education, exhibition and/or marketing:

Jiska Verbouw works as a science communicator at the Museum for Natural Sciences in Brussels. Arina Miteva is working for Smart Museum, a company that develops museum mobile apps. Tegan Kehoe works as a museum educator at the Old South Meeting House in Boston. Phineas Chauke is the Regional Marketing Officer at National Museums and Monuments of Zimbabwe.

With this great new team we will explore new languages, adding Dutch, French, Russian, Zulu, Shona and Shangaan. And we will travel onwards to new galaxies… oops, wrong film… to new stories, articles and other helpful contents for the registrars, collection managers and curators of collections around the world.

We will also explore a new medium: you can follow us on twitter (http://twitter.com/RegistrarTrek). Here we will announce any new post or article on this blog and more things that we find interesting.

Stay tuned!

Angela

This post is also available in French, translated by Sylviane Vaucheret

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FAUX Real: On the Trail of an Art Forger Part 8

picture: LSU University Art Museum

Mark Landis
Also known Aliases:
2009 – Steven Gardiner
2010 – Father Arthur Scott
2011 – Father James Brantley
2012 – Mark Lanois

The New Yorker piece should be out by the end of the month. I have much to share about Landis and will certainly do so but somehow at the moment this feels like a one-way street. I’m sitting here writing all I know about Landis, keeping you informed about my findings, telling my story but I don’t know if I am just talking to myself or if I reach you collections people out there.

I really would like to hear if any of you have either encountered Landis or his alias that I have spoken about or what you have encountered in your research on lenders that raised a red flag. I have spent five years of my life on this one person and I know there has to be more people like, or not exactly, like Landis out there. What does your development office do in researching donors or philanthropists? What have they found? Has this case of Landis made you ask questions or have a wow moment in your current position? I like to hear from you.

I love blogging, and one part of blogging is asking questions and giving answers. So, for the next part I thought we’ll make a part that we’ll call

Questions to Matt

You ask questions, here in the comments section or through mail or phone and I’ll answer them in the next part. I am anxious to hear even the most obscure inquiry from you on the case or even my background…

You all are the best and please keep up the good work where ever you are currently working knowing that your next adventure will be even bigger and better than where you are currently. Do your job well, keep your nose clean and you will be fine.

Talk soon!
Matt

Read more:

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Join the Registrar Trek as translator

Hi there!

Seems we missed celebrating the first half year of Registrar Trek due July 1st and the 200th subscriber to our feeds! Well anyway, never too late to celebrate, so

Cheers to all our faithful visitors out there!

june

As you can see, you come from all parts of the world: registrars, collections managers, curators of collections, students of the arts, art history, history, museums studies and many, many people who are just interested in what goes on behind the scenes in a museum.

As numbers show, we have been visited by nearly 10,000 people until now, who have read nearly 18,000 pages. This is great! But no reason to lean back, but to lean in. As we said in our starting post in January it’s our aim to give people the possibility to read registrar’s stuff in their own language. To achieve this, we need

YOU

If you are speaking two languages and are willing to translate something, please, drop us a line at story@museumsprojekte.de or write a comment.
We are not expecting anyone to translate ALL our articles and posts. We are looking for people who have read some of our stuff and say “Hey, this should be available in my mother tongue” and then translate this story or article. Every language is welcome, but especially welcome are people who are able to translate in the five languages we already have: English, Spanish, German, Portuguese or Greek.
We are enthusiasts, so we can’t offer you any money for that. But we can offer you our appreciation and the possibility to work in a wonderful multi-national team of museum enthusiasts.

Talk soon!
Angela and Fernando

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A project to break down language barriers and connect registrars worldwide