is it time to integrate framing and conservation?

[Rebecca]

I (and others) have had this thought in the back of my mind for quite some time, and the concert ticket thread brought it to the front again.

Yes we do all learn by our mistakes (me too ), but there is a lot of fairly easily accessable information out there that can help us avoid many of them in the first place. The behavior of thermal papers, and ways of identifying them is pretty common knowledge in the archival world.

I would love to see a subgroup in the AIC devoted to framing and display design and preparation. (Whether I'd love it enough to actually do some work to form it I don't know ).

But it would be wonderful to have sessions devoted to the identification of papers and other materials - their foibles and requirements, and a place where you could get arms length info on contact materials...In short, scholarly conferences where you all make your contributions and can hear the contributions of others.

I'm not talking instead of the conferences you already go to, but in addition to. They would serve different purposes.

In the meantime however, there is an amazing amount of info on Conservation On Line http://palimpsest.stanford.edu/ and the Canadian Conservation Institute http://www.cci-icc.gc.ca/main_e.shtml .

And you can all join the AIC or a local conservation group where there will be interesting discussions pertinant to your field.
Or even strike up a friendly relationship with some local conservators.

I'm sure some of you already do these things. The point I'm trying to make is that we don't always have to learn through individual error. There is an existing and evolving body of knowledge and resources out there which you are all welcome to use and contribute to.

Rebecca

 

[Purple Person]

Rebecca, These look like wonderful sites. I am for all of the education I can get.

 

[Meghan MacMillan]

I would go. I would pay money to learn more about it. I'll certainly be checking out the sites you linked to. Thanks, Rebecca.

The problem with the tickets, or any other example is that we (or at least I) don't know we need that sort of information until it's too late. After I cooked those tickets I called all of my framing friends and warned them. After that incident (while I was still dry mounting quite a bit more than I would today) I was eleven times more cautious and tested things with the tacking iron. Now with giclees that can be ruined if I say "How may I help you?" too emphatically I'm wary of every print that crosses my counter. It would be great to learn more about identifying and handling them.

With the advent of this board and HH my circle of framing friends has widened considerably. Framers can find out about such things here, or in the magazines, but there isn't any way to make framers read either.

 

[stud d]

This is smart. I think it should encompass the digital error. That was meant. I feel with all these new processes coming into play everyday it would be good to know what might be the best way to handle these. Of course before that you must be able to identify what you are actually dealing with. This sounds great, I shall take a peak at the sites later.
thanks in advance for the info
d

 

[Rebecca]

The AIC will not teach you to be a conservator, but it will introduce you to a large world of conservation resources, so you can make more informed desisions about framing and mounting, display and materials. As you can see by the list of specialties, there are a lot of sub-groups out there. I'd love to see one for framers!

http://aic.stanford.edu/

I'm posting the application not to drum up memberships, but so you can see what the organization has to offer.

2004 ASSOCIATE MEMBERSHIP APPLICATION

Please send completed applications with appropriate payment due to
AIC; 1717 K Street, NW, Suite 200; Washington, DC 20006

Name ____________________________________________________________________

Address ___________________________________________________________________

City/State/Zip _______________________________________________________________

Telephone________________________ Home_____ or Business_____

Fax _____________________________ Male______ Female______

E-mail Address ______________________________________________

AIC membership includes subscriptions to AIC News (bi-monthly issues), Journal (three issues), and annual Directory, and reduces registration fees for the annual meeting. Associate membership is limited to individuals and is not transferable. Membership runs from January 1-December 31; mid-year applicants will receive back issues for that year.

Calculate the amount due using the schedule below. AIC membership is a prerequisite for membership in any of the specialty/sub groups, as well as for Professional Associate/Fellow application. Note specific fees for students and members residing outside of the U.S. Payment in U.S. dollars and drawn on a U.S. bank must accompany this form. Checks should be made out to AIC. Credit card payment cannot be used. For federal income tax purposes, dues payments may be deducted as an ordinary and necessary business expense. Contributions or gifts to the AIC are not deductible but those to FAIC, its foundation counterpart, are deductible as charitable contributions.

I. AIC Membership
Associate dues: $120
One time filing fee $10
$130.00__________
Student, Retiree dues: $50 (student applications must be accompanied by a photocopy of current student I.D)
One time filing fee $10
$60.00__________

Foreign Postage (delivery outside U.S.)
$30.00__________

II.Specialty/Sub Group Membership:
Architecture
$20.00__________

Architecture (student)
$10.00__________

Book & Paper (U.S. delivery)
$25.00__________

Book & Paper (foreign delivery)
$35.00__________

Book & Paper (student/U.S. delivery)
$10.00__________

Book & Paper (student/foreign delivery)
$20.00__________

Conservator in Private Practice
$25.00__________

Electronic Media
$15.00__________

Objects
$25.00__________

Objects (student)
$5.00__________

Paintings
$25.00__________

Paintings (student)
$5.00__________

Photographic Materials
$25.00__________

Photographic Materials (student)
$10.00__________

Research & Technical Studies
$15.00__________

Research & Technical Studies (student) $8.00__________
Textiles (U.S. and Canada delivery)
$25.00__________

Textiles (overseas delivery)
$30.00__________

Textiles (student/U.S. and Canada delivery)
$8.00__________

Textiles (student/overseas delivery)
$18.00__________

Wooden Artifacts
$25.00__________

Wooden Artifacts (student)
$10.00__________

Total Enclosed
$ _________


--------------------------------------------------------------------------------


AIC # ______________________


Do not write in this space

ADDITIONAL INFORMATION
SPECIALIZATIONS: (Select a maximum of three for listing in the AIC Directory)


Archaeological Objects
Architecture
Books and Paper
Conservation Administrator
Conservation Educator
Conservation Scientist
Ethnographic Objects
Natural Science
Objects
Paintings
Photographic Materials
Sculpture
Textiles
Wooden Artifacts

THIS DATA WILL NOT APPEAR IN THE AIC DIRECTORY; IT WILL BE NOTED IN THE AIC DATABASE ONLY:

EMPLOYMENT: (check one)

For-profit Institution
Non-profit Institution
Independent Private Practice
Student
Other___________________
EDUCATION/TRAINING:

Undergraduate Degree _____________(year)________
(AB, BA, BS, etc)
Institution_______________________

Graduate Degree _______________(year)__________
(MA, MAC, MFA, MLS, MS, PhD., etc.)
Institution_______________________

Formal Training_________________(year)___________ (Certificate/Diploma) Institution________________________

Internship/Fellowship (years)_______________________ Supervisor________________________________________ Lab/Studio________________________________________

Apprenticeship (years)____________________________ Supervisor________________________________________ Lab/Studio________________________________________

Other Training (date)_____________________________ Specialty_________________________________________ Lab/Studio________________________________________

Other Training (date)_________________________________ Specialty__________________________________________ Lab/Studio________________________________________
All applicants for membership in AIC must sign that they have read the AIC Code of Ethics and Guidelines for Practice. Membership alone in the AIC does not imply professional endorsement. An additional application must be made to attain Professional Associate or Fellow status, open to practicing conservators and conservation administrators, educators, and scientists.


Signature: __________________________________ Date: ________________


Rebecca

 

[nona powers]

Framers and conservators need to work more closely together, but most framers I know would have a hard time keeping up with another group or find time to do research and still run their businesses. There is not enough time in the day now.

I would love to see the AIC and FACTS work more closely together and I would love to see papers published by framers or people in the AIC that would be pertinent to framing and be readily available to all framers. We have so much confusion and lack of solid information in our indusrty, any extra knowledge that could be shared would be valuable.

I'm glad we have people like you and Hugh who give so generopusly of your time to help us keep up. Thank you.

Nona Powers, CPF
www.nonapowers.com

 

[JPete]

I just added those sites to my links. Thanks.

Our local artist who prints his own giclees, uses an epson with pigmented ink and just as a test I mounted a print on paper in my heat press at about 200 degrees using thermo foam by Miller and it worked without any damage or color change.

[ 10-11-2003, 10:58 AM: Message edited by: JPete ]

 

[Rebecca]

The information exchange is really a two way street - I've learned a lot since I started Grumbling, and think that conservators would benefit from closer ties with the framing community as well.

Before I never really thought too much about what happened to the art etc. after I was finished with it. Now I have learned to appreciate and respect the work that the "good" framers do, and to be more wary of the dangers of poor framing.

Now I have a better understanding of what goes into your work, and the problems/solutions you deal with. That helps me educate my clients, and is better for the art and artifacts.

Rebecca