Canadian Association for Conservation of Cultural Property / Association canadienne pour la conservation et la restauration des biens culturels

Transcription

1 CAC BULLETIN ACCR Canadian Association for Conservation of Cultural Property / Association canadienne pour la conservation et la restauration des biens culturels SEPTEMBER 2011 SEPTEMBRE Vol. 36 No. 2 ISSN Contents Table des matières Per Guldbeck Memorial Lecture 1 Présentation à la mémoire de Per Guldbeck 1 President s Letter 8 Lettre de la présidente 8 CAC Board Members Membres du conseil de l'accr pour th Annual CAC Conference e Congrès Annuel de l'accr 16 The Merger Committee Explained 18 Le comité de fusion ACCR/ACRP : compte-rendu 18 Per Guldbeck Memorial Lecture Présentation à la mémoire de Per Guldbeck Walking, Learning and Looking Catherine Collins CAC Nationwide Survey of Conservators 19 Sondage national de l'accr sur les conservateurs / restaurateurs 19 Emerging Conservators Committee 20 Comité des restaurateurs émergents 20 Editors Note 21 Note de la rédaction 21 Charles Mervyn Ruggles 2011 Award 22 Prix Charles Mervyn Ruggles Emerging Conservator 2011 Award 24 Prix du restaurateur émergent Grants / Bourses Grants and Awards / Prix et bourses 2012 Call for nominations / Appel de mises en candidature Charles Mervyn Ruggles Award / Prix Charles Mervyn Ruggles 26 Emerging Conservator Award / Prix du restaurateur émergent Grants/Bourses th Annual CAC Conference and Workshop Reviews CAC Conference Review 28 CAC Workshop - Printmaking: Artist Meets Conservator 28 CAC Workshop - Emergency Response 30 CAC Workshop - Advanced Issues in Emergency Preparedness and Response 31 News From Abroad 33 Des Nouvelles de l'étranger 33 Across the Country - Dans tout le pays Western Region - Région de l Ouest 35 Eastern Region - Région de l Est 39 Conferences and Training -Congrès et formation 43 Why Accreditation Matters 45 De l'importance de l'accréditation 45 AIC: New Conservation Resources for Collecting Institutions 48 Un conservateur-restaurateur se remémore 30 années de service dans le secteur culturel, tout d'abord en conservation-restauration, puis en planification du financement, et fait quelques suggestions pour aider les restaurateurs à durer dans leur emploi. Ces recommandations sont fondées sur diverses expériences qui n'ont pas de lien avec la restauration, notamment en musique, en activisme communautaire, en enseignement et dans la rencontre de nouvelles personnes. Dans le cadre d'un plan de durabilité personnelle, on peut inclure l'apprentissage, le ralentissement, la concentration sur une chose à la fois, la découverte d'un bon enseignant, l'acceptation des erreurs en tant qu'occasion d'apprentissage et le partage de soi avec les autres. Une personne peut acquérir de nouvelles aptitudes qui l'aideront à relever les défis reliés à son travail tout en restant en bonne santé. CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre 1

2 I am honoured to give this lecture today. I did not know Per Guldbeck personally. People who knew him spoke about him with respectful tones. I still have his book The Care of Antiques and Historical Collections from 1972, and it was appropriate for the times when it was written. If you have not seen the book, his focus was on collections in community museums: a good general guidebook with some amusing passages such as his warning on the dangers of dry-cleaning after a lunch with alcohol. Through his book, Per Guldbeck lives on in the worlds Amazon, Abe Books and ebay. In my recollection, the Per Guldbeck lecture is meant to be thoughtful and not necessarily a Conservation lecture. So I have taken liberties in my musings but I will try and link my reflections back to our profession. My thoughts are based on the fact that I have worked over 30 years in the not-for-profit heritage/cultural sector. They are coloured by a point of view which is survivalist because funding for these institutions fluctuates and does not depend wholly on government. I ask you to bear with me, sit back and relax. My talk is also informed by nearly ten years of experiences with the concerns to care for ageing elders: this is a preoccupation with baby boomers. Elders appear in my narrative. beginning with my father who turned 90 last fall, and who lives in a senior's residence for Canadian Veterans in Toronto. In his paid working life he was as an engineer. At age 19, he enlisted in the First Canadian Army Corps in the Signals and spent five years there. Part of his army service was in Italy and he says little about this. meeting the needs of the present without compromising the ability of future generations to meet their own needs. In the 1990s, economists expanded the approach adding in financial sustainability and the environment, in short: "people, profits and places." The Canadian Conservation Institute has recently published its Reflections on Conservation and this has many articles on sustainability within the context of Conservation. In Manitoba, many heritage, visual arts and performing arts organizations signed up for a detailed operational analysis in the Manitoba Arts Stabilization Program looking at staffing, programs, governance and revenues etc. in exchange for funds to come at the end of a five year qualification period. The Winnipeg School Division, where I am a trustee, has a Sustainable Development Policy to reduce its environmental footprint and engage children in this through their education. Today I want to talk about sustainability of you in your chosen profession. When one is young and starting out in a career, I believe that a person needs to have a passion for their profession and I had one. At the beginning, Conservation seemed to me to be a glamorous field where one could have access to and restore precious objects and travel to exotic destinations. In 1980, the year after my graduation from the Queen's Program, I worked Instead he prefers to talk about his experience in Holland. When the war ended he was in Groningen as part of the liberation army that the Dutch still revere today. Here he is in Groningen, second to the left (Figure 1). Apparently in Holland he did a lot of walking and once was asked by a young Dutch girl what he was doing? His reply was that he was walking and looking; apparently he did this a lot. These days it seems the buzz word is sustainability. The word came into use in the 1980s, defined by the United Nations as Figure 1- Canadian Soldiers in Groningen, Holland, Figure 2- Cathy Collins working at Poggio Civitate excavation, 1980 CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre

3 for 12 weeks at the Etruscan excavation called Poggio Civitate near Siena. Other Canadian conservators worked there as well through the connection of CCI Conservator, Judy Logan. This picture, Figure 2, shows me working on a ceramic that was very frustrating and there is an excerpt from my diary on this piece, Figure 3, which I came to call "the pot from hell." This ceramic is now in the Etruscan Museum located in Murlo, Italy. It was a cold summer and the work was repetitive: I spit-cleaned a lot of carbonized seeds while trying to assemble this recalcitrant pot. We lived in a castello on top of a hill that was the Bishop of Siena's summer residence in the Middle Ages: it is largely a bed and breakfast now. In reality, there are high expectations on the Conservation profession. As students we begin with learning of our Code of Ethics. Then there are expectations imposed by others. These include people who think that collection preservation is an exclusive task for conservators and don't understand the time it takes. Artists may use new materials and combine them in creative ways believing that conservators in the future can take care of everything. While I served on the Manitoba Heritage Council, the Board members from all areas of museum operations collectively lamented the lack of teaching of history in schools, lack of funding, ageing of volunteers and so on. Another challenge is imposed by the Second Law Thermodynamics. For those who need a review this law states that entropy (chaos) tends to increase over time. I like the more philosophical interpretation by renowned Czech poet, playwright and politician, Vaclav Havel: "Just as the constant increase of entropy is the basic law of the universe, so it is with the basic law of life to be ever more highly structured and to struggle against entropy." This struggle uses up energy. Some people are lucky that they stay in love for a lifetime. Sadly I am not one of them which is why I work in another area now that is called Fund Development. I moved into this area from Conservation initially because I wanted to see the Winnipeg Art Gallery raise the funds to properly house and maintain the collection and art on display. Our then Director, Pat Bovey, was keen to get this done. We were successful largely through Cultural Spaces Funding combined with funds from the Museums Assistance Program, the Gallery's foundation and some corporate donors. The application process took several years as did the renovations. You can see the results if you take a basement tour at the Winnipeg Art Gallery. Essentially it was a large collection preservation process with work in the storage vaults and in the galleries. Over the past 12 years, we've done well in getting grants for projects. This fall we are looking forward to producing a touring show of the art of William Kurelek; another successful grant application generously funded by the Department of Canadian Heritage. Common to both Conservation and Fund Development fields is a lot or repetition, a high degree of detail and great burden of expectations. So how do you maintain a passion for what you do? How can you remain sustainable as a working person? This is where the walking and looking comes in. The message in my lesson is not to ignore the common experience of living and other people. Keep moving on a mental plane and physical one too. Accept change and move with it. Learning things that may seem at first peripheral to your development on professional level are the very things that can make you mentally sustainable and healthy. Make time for learning because it you may find out that something you learned in one context becomes useful in another. What follows is a list of my suggestions: Keep Learning and Don't Give Up the Things That You Like to Do Figure 3- excerpt of diary from Poggio Civitate excavation Before I began my study of Conservation, I was learning to play the bouzouki, the long necked lute known in music such as that of Mikis Theodorakis and songs like Zorba the Greek. I also studied Modern Greek but I gave up these things because I felt that had to get serious and get a job. What a mistake! After ten years of working I went back to university on a parttime basis because I felt that I needed to do something creative and I knew a lot of artists. I studied Fine Arts at University of CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre 3

4 this stop you. Old dogs can learn new tricks. So many times I began a new song or a new technique and I start out thinking that I will never be able to do it. Sometimes I hit a plateau and it seems day-to-day that I am going nowhere but then later on, I find out that I have learned it. Looking back, I am amazed how far I have come. Figure 4- Cathy Collins, accordion and her parents, Margaret and Alex Collins Manitoba over the course of about six years. Through late 1980s and the 1990s, I pursued things as an artist and met with success although it took some time. A highlight was having work in the Istanbul Biennial in By the time I had arrived at the point of having art in the Canada Council Art Bank, I was already well down the road on another creative pursuit. For the past ten years, I have been studying the accordion, Figure 4, with Karl Mueller. Karl is older than my dad and has the common experience of being a WW2 veteran: first in the Russian army and later in the German army. Anything that you learn to do will pay off in the other areas of your life and your work. It gives you confidence for those rough times when you doubt yourself and what you are doing. Over the years, Karl and the accordion have taught me a lot within the context of learning music that can be extrapolated to life lessons. Accordion-playing is a body and mind pursuit. To play the accordion, you must become used to playing the chord buttons on the bass side without being able to see them. It is essentially the same on the right hand side although you can see your hand. Your attention is focused on the score and you have to learn to make the instrument breathe and to not change the direction of the bellows that supply the air in the middle of musical phrases. After awhile this becomes quite natural. It is not something you learn with your conscious mind. Accordion-playing may not relate to Fundraising or Conservation but believe that anything you learn will payoff in another areas of your life and work. Not long ago, I saw that Conservation of OnLine had courses listed for fundraising and volunteer management: excellent skills for anyone to acquire. We can all use a little help and some special funding for our projects. Learn from Your Mistakes and Let Go of Perfection Learning anything new can be challenging and it usually takes months before you can even begin to do it. As an older learner, one feels a little more self-conscious and even fearful. Don't let You must get over the idea of being perfect. Perfection seems to me to be a pitfall in Conservation because the profession is very detail-oriented and the desire to be perfect can make you anxious for no good result. You can also learn more from a mistake than by doing something right the first time. If you make a mistake, give yourself a break and fix it. New things may arise from errors. Christopher Columbus was financed to find a route to the Indies. Instead he found a new continent. This quote by Joseph Chilton Pearce, American author of books on children development puts it this way: "To live a creative life, we must lose our fear of being wrong." I also think that there is merit to sharing what we have learned by our mistakes. I have to confess to learning a whole lot when I shrunk a painting and caused the paint to tent. I had to figure out how to expand the canvas and put down all the paint. I had to find out what it was about this canvas that made it so sensitive to humidity and it took a great deal of work to repair the damage. I became acutely aware that I was not practicing my next suggestion. Slow Down, Focus and Practise When I learn to play a new piece of music, there is a temptation to try to play it through. I tell myself that playing it through is good for practice. Instead I have had to learn to focus on the parts that I play poorly. It turns out that it works better to learn the music in small bits and play these parts over and over again. Sometimes it means analyzing the rhythm and counting it out. I may have to play a single bar over and over again starting out very slowly. To quote Karl: "You can't play it fast unless you play it slow. Take as long as you want to play it slowly." Once I have it right, he then says: "ok, now go and play it at least a hundred times." As a consequence, I have developed an awareness that concert pianists must play a composition for years in order to be able to sit down and perform it from memory. They have had to play small sections over and over again and listen closely. I have found that you can't really hear yourself play or work on the nuances and your own interpretation of the music until you have it memorized. We have the idea that people are gifted in various areas. Certainly it is undeniable that some people learn things more quickly and have an affinity for some things. However, to learn something really well it takes time and determination to practice the same thing over and over. In his 2008 book called Outliers, Canadian writer and chronicler of social trends, Malcolm Gladwell, has made the assertion that 4 CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre

5 being gifted may more be the case of being gifted with the time and having the dogged determination to practice something for at least10,000 hours. The Beatles had a grueling concert schedule in Hamburg before they launched in England. From biographies of Pablo Picasso and Andy Warhol, I would say that they drew obsessively to become as adept as they were. We need to slow down and think so we can live in the moment and focus. Practice is essential to mastering a new skill. Look for the Patterns Looking for the patterns is an observation that comes from learning a new piece of music where I am confronted with a page packed with notes. To deal with this I have learned to break things down and look for the patterns within the score. Learning something new can fill one with anxiety about the unknown but if you look for what is familiar you will have something to build upon. Identify what you know and go from there. In the world of writing resumes, these are called transferable skills. just make that the exclusive centre of your focus. A Good Teacher is Important for Your Learning When you decide to learn something new, a good teacher is invaluable. Reading things is fine to see it you are interested in something. Sometimes you are far away from an expert and you need to read. When I started out working in Conservation, I was far from the centre of the Conservation world so I had to learn by doing. This was good because I had opportunities to try new things and figure things out. Now I would say that there is no substitute for someone showing you how to do something or for job-shadowing a person to learn. Karl told me right from the beginning that people can learn to play an instrument on their own. But he also said that he could hear right away if they had had proper instruction by how they hit the notes, something that is called articulation in music. For I think that this recommendation is also worthwhile for conservators who have to work solo or to pursue things like building projects, and managing other people or disciplines. As a conservator, you already have skills like attention to details, drafting treatment proposals, synthesizing information, and report writing. You can use these skills in a new context and draw upon your networks for help. In this digital age, it is a whole lot easier. Resist the Demand to Multi-task Somewhere along the way in the world of work, we arrived at a belief that it was admirable to have the capacity to do many things at the same time. Eventually we lost the ability to set boundaries and say no to anything. We end up frantically trying to accomplish too many things and making hasty decisions. I know this because I have done it and regretted the results. Then I had to forgive myself for the errors that I made. One thing that Karl has warned me about was trying to practice too many songs. Better to really focus on a few to learn the skills embodied in each one. Then have a little fun when you have worked on the hard parts. This gets back to Malcolm Galdwell's premise again that you can't master something if you are not able to practice it because of having to do so many things. Doing too many things dilutes the power of concentration. Back in 1991, Dr. Donald Redelmeir from Sunnybrook Health Sciences Centre in Toronto made the link between motor vehicle crashes and cell phones based on accident statistics. In short, he found that driving while talking on a cell phone was as dangerous as drinking and driving. Redelmeir's homespun philosophy is that life is a marathon and not a sprint stating that: "a great deal of mischief occurs when people are in a rush." So I would advise against trying to do too many things at the same time in treatments because you can't give your attention to things fully. While you are doing something, Figure 5 - excerpt of accordion score from Swedish Polka, Palmer Hughes arrangement each instrument the musician has to learn how to create this and a vocalist as well. This is a dead give away for the selftaught. Listening to music, there is a wide difference to hearing a set of staccato notes (short and quick with notes not connected) from legato (notes that are tied together and smoothly connected; you don't let go of one until you are about to strike the other). This passage in Figure 5 taken from the Swedish polka shows connected sets of notes that are legato with notes having dots: that are emphasized and shortened - two very different approaches. As it turns out there are degrees of staccato and legato. Learning to play them is like being able to add spices to a dish. Karl calls it the salt and pepper of a song. There are other subtle things to learn like playing a series grace notes before the main note in a melody where the first grace note needs to be struck harder than the others. No doubt there are places where this is written down but it saves a lot of time if you have a good teacher to help to learn this. A good teacher can prevent you from developing bad habits. Repetition is needed for practise but you don't want embed an error. A good teacher will also be patient to wait out the time that it takes to learn something, to not humiliate a student and CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre 5

6 to be there to remind you if you are repeating a mistake. A good teacher knows when to put you outside your comfort zone, moving you into the area where you develop new skills and knowledge. They know when to hold you back to complete something and then push you forward. There is no substitute for having a teacher right there. Sure you can learn things in online and in distance education but learning a concept is different that learning something where proper hands on instruction is preferred. Making a mistake can be instructive but developing a bad habit is quite another thing. Even a short stint of concentrated job shadowing from time to time to learn something new is a good idea. The Value of Teaching I have reached the point in my music practice where teaching it will have some benefit. I know chords and the theory. Teaching to a novice will prove that I really understand the concepts. You can learn a lot about yourself when you teach too. I taught four years as a sessional instructor in a course on art techniques at the University of Manitoba, School of Art. Teaching is a great way to develop patience and learn that students are individuals with individual needs. In good teaching, learning needs to be learner-centered rather than instructor-centred. This can mean finding a hook for the learners. For example, at the Superhero Supply Store in Brooklyn children can learn to reach and make art through the experience of creating the stories for their personal superhero. Two years ago, students at Argyle Alternative School in Winnipeg were studying John Steinbeck's Of Mice and Men and rewrote it as a play set in a rooming house in Winnipeg. They obtained copyright permission from the Steinbeck estate to produce their script as a film that went on to great acclaim at an aboriginal film festival. The students who acted in film and did the production are now in films studies here and in Vancouver. Hands-on learning is learner-focused and although we associate it with children, it works just as well for adults. When the students learned about egg tempera painting in the classes that I taught at the School of Art at University of Manitoba, we made gesso-covered panels and broke eggs. In the lecture on illuminated manuscripts, I brought in an artist-friend who explained how to make feather pens and then they drew with his pens. What better way to learn about print-making than to make prints. I suggest that some of us who are moving on in our jobs should show people how to do things in our field. We could record things on video and send them out. YouTube is another place to put them. Learn to Play Louder After several years of study, Karl advised me that it was important to be able to play louder which meant developing stronger fingers and playing more assertively. Music after all has passages that run the range of volume from piano pianissimo (ppp), very very soft, to forte fortissimo (fff) or 6 very very loud. For conservators, I would say that learning to play louder is like learning to speak clearly to the public. You can learn this outside of your professional role. Take a course like effective oral communication. Learning how to speak in public is important. Classes in written communication are also excellent. If we are "louder" and here I mean being more articulate and learning that communication goes two ways, we will be taken more seriously on a professional level. You can't get your message across if it is written in a way that confounds the listener or the reader. Work, Talk, Play and Live with other People: Share Yourself with Others In my opinion, we Conservators tend to indulge our insecurity as a profession by staying professionally separate from the larger museum professional organizations, such as the Canadian Museums Association. Because Conservation is filled with specialists, we have focused on becoming specialists when "General Practitioners" were what the country needed. I believe that the Conservation profession still suffers from being unknown by the public. With the exception of curators and educators, this is probably true of most people who work in culture and heritage. For the past 30 years, I have lived in a transitional area of Winnipeg, one of the poorest postal codes in Canada. Many immigrants first come to this part of Winnipeg: I have neighbours from Myanmar, Azores, the Philippines, Chad, Eritrea and Northern Manitoba, among others. Within one block of my house, I can eat Vietnamese Food at Pho Number 1, shop at Bueno Brothers Filipino Supermarket or Dino's Caribbean Mart. Working in the community around me on common issues such housing safety has taught me a great deal about listening to other people. For over ten years, I worked on trying to save a block of housing in my neighhourhood from demolition. I learned a great deal about crafting presentations for City Hall and working with my neighbours and with various government officials, politicians and agencies. In the end, our resident group could only save one house. After all the battles had ended I was interviewed by the CBC and I described all my work as the best education that I had not paid for. This volunteer work was also what trained me for Fund Development and becoming a School Trustee. My extensive contacts in the community mean that I think a lot more about the story that we wish to create for Canada's history because it is changing all the time. How can we reach newcomers, communicate effectively and bring in new perspectives? In this regard the Canadian Conservation Institute is to be commended for their 2007 symposium and the publication Preserving Aboriginal Heritage: Technical and Traditional Approaches that brings forward the perspective of aboriginal CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre

7 peoples. Social media have also made it possible to have conversations with and give voice to a much broader community. I suggest that this can change, if we start being more vocal. We can pursue some things such as: Do talks to seniors groups or at schools Ask people in public relations if you can send out a press release about something that has been accomplished Get a spot of the institutional website Create a conservation blog Become members of boards, parent councils, etc. where your can have a short curriculum vitae that lists what you do or names your profession Build a house for Habitat, run a marathon etc. Build an alliance for a common cause Form a co-operative This list is endless. While sharing yourself with others and working for other causes, you will be surprised at how much you know that ends up being helpful in other capacities! You will build a network of allies and friends who can help you in the times when you need reassurance and moral support. Change Happens and We Can't Save Everything As preservers of objects, we need to become comfortable that we can't save everything: people who live now do not live in the past and we can't expect them to be interested in something unless it can link to their experience. Sometimes we can only afford to preserve the idea or experience or a fragment. A good example is a cluster of buildings near Winnipeg City Hall. The façade of the downtown campus of Red River College is the remains of a series of old buildings: the buildings were sinking so they were incorporated into a new building that overlies a back lane and attaches to another old building that was in sound structural condition. The new culinary arts building is an old bank tower that has a new annex that occupies the site of the Leland hotel that burned several years ago. I am sure there are other good models across Canada. In addition to changes wrought by the agents with which we are familiar, there is a frantic change imposed by technology and the idea of the value of the virtual experience over the authentic one. Keeping things in climate-controlled storage is expensive. Saving the record of something may be the only way to preserve it because this is all we can afford to preserve or the only way we are capable of preserving it. My example for this is a sculpture by the Russian Futurist artist Vladimir Tatlin, Model for Monument to the Third International ( ), shown sideby-side with American artist Dan Flavin's Monument for V. Tatlin, dated Dan Flavin's piece references the missing Tatlin work but it too is going to be ephemeral. As Fluxus movement artist, Geoffrey Hendricks, is showing us here in one of his 2006 performance art piece, Headstands, Three Variations, the idea is the work of art. By performing it for yourself, as Hendricks encourages you to do, you are keeping his idea alive. I hope that my thoughts have given you some inspiration to move along walking, looking and learning. Now go do it for yourself. Cathy Collins has a BSC from University of Toronto, a Masters of Art Conservation from Queens University and a Bachelor of Fine Art from University of Manitoba. As a Conservator, she has worked for the Manitoba Museum and Winnipeg Art Gallery with shorter conservation projects in Mexico, Italy and Winnipeg. Within Manitoba she visited many museums to advise on conservation and collection care for the Manitoba Heritage Conservation Service. She was a Board Member for the Manitoba Heritage Council and an instructor for four years at the School of Art at University of Manitoba. Cathy has also devoted countless hours to housing issues in Winnipeg's inner city. In 2009, she was elected as a trustee for the Winnipeg School Division. Cathy Collins possède un Bac en sciences (BSC) de l'université de Toronto, une maîtrise en restauration d'oeuvres d'art de l' Université Queen's et un Bac en art de l' Université du Manitoba. Elle a travaillé comme restauratrice pour le musée du Manitoba ainsi que pour la Winnipeg Art Gallery et a effectué de courts projets en restauration au Mexique, en Italie et à Winnipeg. Pour le Manitoba Heritage Conservation Service, elle a visité un grand nombre de musées à l'intérieur du Manitoba afin de donner / prodiguer des conseils en restauration et en soins aux collections. Elle a été membre au conseil du «Manitoba Heritage Council» et professeur durant quatre ans à l'école d'art de l'université du Manitoba. Cathy s'est dévouée sans compter pour régler les problèmes de logement au centre-ville de Winnipeg. En 2009, elle a été élue au conseil d'administration pour la «Winnipeg School Division». CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre 7

8 President s Letter I accept the position as President appreciative of the many hours of work that have preceded me. My career so far in conservation can be characterized as one that has experienced the many challenges of both the private as well as the public spheres. My aim is to use the realities I have witnessed to understand the struggles of many of you. I will endeavour to represent you and listen to your concerns. The board has many exciting projects underway, as you may have noted from the March Bulletin, and/or our Annual General Meeting in Winnipeg. In my opinion, one of the most important of these is our effort to lighten the load for conference organizers, in an attempt to encourage smaller communities nationwide to host the event. I am convinced, even more so since attending the Winnipeg conference that the annual event serves to unite us and facilitate communication. I was reminded of the differences in our daily realities during the Emergency Preparedness Workshop this May, on comparing the infrastructure and recovery process in Red Deer Alberta, as compared here in Ottawa. We are looking forward to the conference in 2012 to be held in Peterborough and the conservators there are doing an outstanding job organizing it. We are incredibly excited to announce that the 2013 conference will take place in St. John, New Brunswick, hosted by the New Brunswick Museum. Website renewal and rejuvenation is well underway in an effort to render our public face more accessible, dynamic and practical. We are brainstorming marketing possibilities to ensure our profession is in the public eye more than ever, and so we welcome your outreach ideas and suggestions. On the launch of our new website, we ask that you watch out for a link to our nationwide survey of conservators. We hope you will all participate, as our aim is to find out who you are and what you are up to. It will be accessible to you online as well as via other media, for those of you who do not wish to participate electronically (see page 19). I have heard junior conservators voice their concern in their search for mentors time and again. This is something we are working on. In the meantime, I would like to initiate an interview each Bulletin, of a senior conservator. This could be undertaken by a member of the ECC, and hopefully offer an opportunity for a junior conservator to get to know a revered member of the profession and their career. 8 Lettre de la présidente J'accepte humblement le poste de présidente en étant reconnaissante à ceux et celles qui m'ont précédée pour leurs nombreuses heures de travail. J'espère que mon expérience dans le domaine de la restauration, ponctuée de nombreux défis tant dans le secteur privé que dans le secteur public, saura vous servir. Mon objectif est de puiser dans les réalités dont j'ai pu témoigner pour mieux comprendre les difficultés auxquelles nombre d'entre vous faites face. Je m'engage à vous représenter et à tenir compte de vos inquiétudes. Comme vous avez pu le lire dans le Bulletin du mois de mars ou avez pu l'apprendre lors de notre assemblée générale à Winnipeg, le conseil travaille actuellement sur divers projets passionnants. Selon moi, l'un de ces projets parmi les plus importants est notre tentative de réduire la charge de travail des organisateurs du congrès annuel afin d'inciter les plus petites localités à se porter volontaires pour accueillir l'événement. Je suis convaincue, et encore plus depuis le congrès de Winnipeg, que ces événements servent à nous unir et à favoriser la communication et la comparaison de nos cadres de travail. Je me suis rappelé des différences dans nos réalités quotidiennes durant l atelier de Préparation en cas d urgence en mai dernier, en comparant l infrastructure et le procédé de récupération mis en place à Red Deer en Alberta avec ceux d ici à Ottawa. Nous avons déjà hâte au congrès annuel 2012 qui aura lieu à Peterborough. Les restaurateurs de ce coin de pays font un excellent travail d'organisation. Nous sommes très heureux de vous annoncer que le congrès 2013 se tiendra à Saint John, au Nouveau-Brunswick, et sera organisé par le Musée du Nouveau-Brunswick. La refonte du site Web est en cours afin de rendre notre vitrine publique plus accessible, dynamique et pratique. Nous préparerons un plan de marketing pour faire en sorte que notre profession soit plus que jamais sous les feux de la rampe. Nous sommes en train de débattre de diverses possibilités de diffusion et sommes ouverts à vos suggestions. Au lancement de notre nouveau site Web, nous vous demandons de surveiller pour un lien concernant notre sondage national sur les conservateurs. Nous espérons que vous y participerez tous, notre but étant de découvrir qui vous êtes et ce qui vous anime / occupe. Le sondage sera accessible en ligne ainsi que par le biais d autres moyens pour ceux et celles qui ne désirent pas répondre électroniquement (voir page 19). CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre

9 This is just a taste of the many projects underway. I would like to thank all outgoing board members for their tireless work that goes on behind the scenes. Our President, Wendy Baker, our out-going VP, James Hay, Treasurer Pat Legris. I thank all who donate their valuable time to create our various publications and conferences. Our board members work tirelessly to ensure we are accountable to you. A few positions are still open and I urge you to contact your Regional Representative if you are interested in volunteering. Silvia Kindl J'ai entendu les plaintes des jeunes restaurateurs relativement à la difficulté de trouver des mentors. J'estime que la publication d'une entrevue avec un restaurateur d'expérience dans chaque édition du Bulletin pourrait être un ajout intéressant à notre périodique qui donnerait la chance aux jeunes restaurateurs de questionner un membre bien en vue de notre communauté à propos de sa carrière. Ceci n'est qu'un avant-goût des projets en cours. Je voudrais remercier tous les membres sortants du conseil pour leur travail soutenu, qui se poursuit en coulisses., c'est-à-dire notre présidente Wendy Baker, notre viceprésident James Hay et notre trésorier Pat Legris. Je remercie également tous ceux qui consacrent une partie de leur temps à la publication du Bulletin et du Journal et à l'organisation des congrès. Les membres du conseil travaillent sans relâche pour faire en sorte que nous vous rendions des comptes. Il reste quelques postes disponibles; je vous invite à communiquer avec nous sans tarder si vous êtes intéressé à faire du bénévolat pour nous. Silvia Kindl CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre 9

10 CAC Board Members President Silvia Kindl Silvia Kindl graduated from Queen's Art Conservation in 1990 with a specialization in Paper Conservation. She worked as Paper conservator at the Canadian Museum of Civilization until 1995 when she moved to Montreal to work as conservator at Canadian Pacific Archives, and later the Bibliotheque nationale du Quebec. Silvia ran a successful Paper Conservation studio in Montreal for over ten years, serving a varied clientele composed of museums, archives, universities, galleries, framers and collectors. During that time she also taught preservation courses at College Montmorency, Museum Technologies program in Laval. In 2007 she returned to Ottawa to work for the Canadian Museum of Civilization, this time becoming Head of the Conservation Section. She recently stepped down to become Paper Conservator for the City of Ottawa Archives, thanks largely to her passion for paper. Vice President Jessica Lafrance Jessica works as a contract objects and archaeological conservator in Ottawa and also is presently an operations employee with the Canada Dance Festival at the National Arts Center. During 2008 and 2009 she was a Post Graduate Intern in Archaeology at the Canadian Conservation Institute and she continues to work on short contracts with the institute. Prior to the PPGI, she was employed as the conservation lab assistant in the Algonquin College Museum Studies Program after completing a BSc in Conservation of Objects in Museum and Archaeology from Cardiff University (2007), and obtaining a diploma in Applied Museum Studies from Algonquin College (2005). She has also completed conservation internships with 10 Membres du conseil de l'accr pour Présidente Silvia Kindl Silvia Kindl a obtenu son diplôme en restauration des œuvres d'art (spécialisé en restauration du papier) de l'université Queen's en Elle a travaillé à titre de restauratrice des articles en papier au Musée canadien des civilisations jusqu'en 1995, année où elle a déménagé à Montréal, où elle a occupé le poste de restauratrice aux archives du Canadien Pacifique puis travaillé à la Bibliothèque nationale du Québec. Silvia a exploité avec succès son propre studio de restauration à Montréal pendant plus de 10 ans, dont la clientèle variée était composée de musées, d'archives, d'universités, de galeries, d'encadreurs et de collectionneurs. Durant cette période, elle a également enseigné la préservation dans le cadre du programme de techniques de muséologie au Collège Montmorency, à Laval. En 2007, Silvia est retournée au Musée canadien des civilisations à Ottawa, cette fois à titre de chef de la restauration. Elle a récemment quitté son poste pour occuper les fonctions de restauratrice des articles en papier pour les archives de la ville d'ottawa, en raison de sa grande passion pour le papier. Vice-présidente Jessica Lafrance Jessica travaille à titre de restauratrice d'objets et d'artefacts archéologiques à la pige à Ottawa et fait également partie de l'équipe des opérations du Festival Danse Canada au Centre national des Arts. En 2008 et 2009, elle était stagiaire en archéologie à l'institut canadien de conservation. De nos jours, elle continue de travailler à contrat pour l'institut. Prior to the PPGI, (Post Paid Graduate Internship) elle a travaillé en tant qu'assistante au laboratoire de restauration du programme d'études muséales du Collège Algonquin après avoir obtenu son baccalauréat en restauration d'artefacts muséaux et archéologiques de l'université de Cardiff (2007) et un diplôme en études muséales CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre

11 the Museum of London, the Newport Ship Project, Parks Canada, and the Canadian Museum of Nature. Jessica was recently co-chair of the Emerging Conservator Committee of the CAC, is the program chair for the upcoming 2012 CAC conference in Peterborough, and was a member of the programming committee for the 2010 CAC conference. Secretary Jennifer Mills Jennifer is a furniture and objects conservator. She gained nine years experience of conservation and museum collections work in the United Kingdom, including the achievement of three degrees in conservation and art history. Her areas of expertise include French, British and Canadian furniture history circa 1660 to 1830, preventative conservation for historic objects and museum collections, collections management, remedial conservation treatment of wood, metals, ceramics, decorative surfaces, historic vehicles, upholstered seating and cabinet furniture. Jennifer obtained a first Class Honors Bachelor of Arts degree in Furniture Conservation and Restoration at Buckinghamshire Chilterns University (High Wycombe, Buckinghamshire, England) in-2005, a Master of Arts in French and British Decorative Arts and Historic Interiors at Birkbeck, University of London in 2006, and further pursued post graduate studies at the University of Lincoln, Lincolnshire where she was granted Master of Arts in the Conservation of Historic Objects in During her studies, she worked part time as a Conservation Assistant for the National Trust (Kent) and also completed an internship at the Wallace Collection (London). Jennifer then worked in the Department of Prehistory and Europe of the British Museum ( ) and Augerson Art Conservation (Glasgow) in Upon her return to Canada in 2009, she volunteered at the Canadian Museum of Science and Technology where she conserved the enameled leather close top of an American made Spider Phaeton carriage. In January 2010, Jennifer accepted the position of Objects Conservator at the Canadian Museum of Civilization in Gatineau, Quebec. appliquées du Collège Algonquin (2005). Elle a aussi effectué plusieurs stages en restauration au Musée de Londres, au sein du projet de restauration du navire de Newport, à Parcs Canada et au Musée canadien de la nature. Jessica était coprésidente du comité des restaurateurs émergents de l'accr, est présidente de la programmation du congrès 2012 de l'accr qui aura lieu à Peterborough et a fait partie du comité de la programmation du congrès 2010 de l'accr. Secrétaire Jennifer Mills Jennifer est restauratrice de meubles et d'objets. Elle possède neuf années d'expérience en restauration et en gestion des collections muséales au Royaume-Uni, en plus de détenir trois diplômes en restauration et histoire de l'art. Ses domaines de spécialisation comprennent l'histoire du meuble en France, au Royaume-Uni et au Canada de 1660 à 1830, la restauration préventive d'objets historiques et de collections muséales, la gestion de collections et le traitement correctif du bois, des métaux, de la céramique, des surfaces décoratives, des véhicules historiques, des sièges rembourrés et des meubles d'ébénisterie. Jennifer a obtenu son baccalauréat avec mention très honorable en conservation et restauration des meubles à l'université Buckinghamshire Chilterns (High Wycombe, Buckinghamshire, Angleterre) en , une maîtrise en arts décoratifs français et britanniques et intérieurs historiques à Birkbeck, Université de Londres en 2006, et a poursuivi des études de troisième cycle à l'université de Lincoln, au Lincolnshire, où elle a obtenu une maîtrise en restauration d'objets historiques en Durant ses études, elle a travaillé à temps partiel à titre d'assistante en restauration au National Trust (Kent) et a effectué un stage à la Collection Wallace (Londres). Jennifer a ensuite travaillé au sein du département de préhistoire et de l'europe du British Museum ( ) et chez Augerson Art Conservation (Glasgow) en À son retour au Canada en 2009, elle a fait du bénévolat au Musée des sciences et de la technologie du Canada, où elle a contribué à la restauration du toit en cuir émaillé d'une calèche de modèle Spider Phaeton de fabrication américaine. En janvier 2010, Jennifer a accepté le poste de restauratrice des objets au Musée canadien des civilisations, à Gatineau, au Québec. CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre 11

12 Treasurer Kyla Ubbink Operating a full time Book and Paper Conservation business from her home since 2005, Kyla Ubbink began her career as an intern with the Library and Archives Canada Preservation Services unit in 2000, continuing on to fulfill contracts for their Conservation Laboratories. Accredited in 2010, Mrs. Ubbink provides professional treatment and consultation services for institutions, galleries, antiquities dealers, collectors, and researchers. She has been published in the CAC Journal, co-authoring an article with Roberta Partridge, as well as in a variety of genealogy and historical periodicals. A Preservation Instructor for the Algonquin College Archives and Records Management program, Mrs. Ubbink also provides workshops and lectures for community groups and institutions. Ever an advocate of preservation, Mrs. Ubbink volunteers to accompany the CAC's Marketing kit at local functions, has on invitation attended several heritage functions offering free archival preservation advice to the participants, and has been interviewed regarding preservation and conservation for both television and radio programs. Kyla Ubbink worked on the 2010 CAC conference, and was Secretary for the Executive Board for Executive Councillor Cindy Colford Cindy Colford is a part-time faculty member in the Arts and Heritage Programs at Fleming College and a conservator at the Peterborough Museum and Archives. Her career in the heritage field spans more than 10 years, during which time she has held positions with the Colonial Williamsburg Foundation, Harvard University's Peabody Museum of Archaeology and Ethnology, Parks Canada Atlantic Service Centre, the Provincial Museum of Newfoundland and Labrador, and the Canadian Museum of Civilization where her work focussed on both preventive and practical conservation of cultural materials. Cindy has been involved with CAC board for more than four years, as chair of the training committee, executive 12 Trésorière Kyla Ubbink Kyla Ubbink, qui exploite sa propre entreprise de restauration de papier et de livres à domicile depuis 2005, a amorcé sa carrière comme stagiaire au sein des services de préservation de Bibliothèque et Archives Canada en 2000 et a effectué des contrats pour leurs laboratoires de conservation. Accréditée en 2010, Mme Ubbink fournit des traitements et des services de consultation professionnels aux institutions, galeries, antiquaires, collectionneurs et chercheurs. Ses articles ont été publiés dans le Journal de l'accr (un article en collaboration avec Roberta Partridge) ainsi que dans divers périodiques traitant de généalogie et d'histoire. Enseignante en préservation au sein du programme de gestion d'archives et de documents du Collège Algonquin, Mme Ubbink donne également des ateliers et des exposés à l'intention de groupes et d'institutions communautaires. Madame Ubbink, grande défenseure de la préservation, a accompagné bénévolement le kiosque de promotion de l'accr lors de rassemblement locaux, a également sur invitation participé à divers congrès sur le patrimoine, où elle a conseillé les participants gratuitement sur la préservation des archives, et a donné des entrevues sur la préservation et la conservation tant à la télévision qu'à la radio. Kyla Ubbink a fait partie du comité organisateur du congrès 2010 de l'accr et a été secrétaire du conseil d'administration en Conseillère auprès du bureau Cindy Colford Cindy Colford est membre à temps partiel de la faculté des programmes d'arts et de patrimoine au Collège Fleming et restauratrice au Musée et archives de Peterborough. Sa carrière dans le domaine du patrimoine dure depuis plus de 10 ans, période durant laquelle elle a occupé des postes au sein de la Colonial Williamsburg Foundation, du Musée Peabody d'archéologie et d'ethnologie de l'université Harvard, du centre de services du Canada atlantique de Parcs Canada, du Musée provincial de Terre-Neuve-et-Labrador et du Musée canadien des civilisations, où elle s'est concentrée sur la conservation préventive et pratique d'articles culturels. Cindy fait partie du conseil d'administration de l'accr depuis plus de quatre ans; elle a CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre

13 counsellor and will be co-chairing the 2012 conference in Peterborough. Executive Councillor Wanda McWilliams Wanda McWilliams has been a member of CAC since 1986 and a member of the CAPC since In 2006 she served on the CAPC Board Executive, as CAPC-CAC Liaison Officer. She has worked extensively in the National Capital region, in the public and private sectors, as a Paper Conservator specialized in the conservation and preservation of historic and contemporary works on paper. More recently she has expanded her interests and skills in cultural resource preservation by taking on assignments in collections resource management, and supports collections care in public programming activities such as national and international loans and exhibitions. Effective August 15th 2011, she will assume the role of Manager, Conservation and Preservation at the Canadian Museum of Civilization, Gatineau Quebec. Executive Councillor Andrew Todd Andrew Todd is a conservator in private practice based in Vancouver, BC, Canada. He is a specialist in the conservation of fine art objects, museum artifacts, sculpture and outdoor monuments. He has been in private practice for 25 years and has completed treatments for monumental works in Alaska, Alberta, California, Washington State and British Columbia. Recent projects include conservation services for the Vancouver International Airport, Vancouver Museum and the Burnaby Village Museum. He has been published by the Getty Conservation Institute and the Canadian Conservation Institute. Before establishing his private conservation practice he spent seven years with Canada's two major conservation facilities: the Conservation Division of Parks Canada and the Canadian Conservation Institute in Ottawa. occupé les postes de présidente du comité de la formation et de conseillère auprès du bureau et est également coprésidente du congrès 2012 de Peterborough. Conseillère auprès du bureau Wanda McWilliams Wanda McWilliams est membre de l'accr depuis 1986 et membre de l'acrp depuis En 2006, elle a fait partie du conseil d'administration de l'acrp à titre d'agente de liaison entre l'acrp et l'accr. Elle a occupé de nombreux postes dans la région de la capitale nationale, dans les secteurs public et privé, à titre de restauratrice spécialisée dans la restauration et la préservation d'ouvrages historiques et contemporains sur papier. Plus récemment, elle a décidé de se perfectionner en préservation des ressources culturelles en acceptant des contrats de gestion des collections et en participant au traitement des collections faisant partie d'événements publics, comme les prêts ou les expositions tant à l'échelle nationale qu'internationale. Depuis le 15 août 2011, elle occupe le poste de chef de la restauration au Musée canadien des civilisations, à Gatineau, au Québec. Conseiller auprès du bureau Andrew Todd Andrew Todd est un restaurateur en pratique privée située à Vancouver, en Colombie-Britannique, au Canada. Il est spécialisé dans la restauration des objets d'art, des artefacts muséaux, des sculptures et des monuments extérieurs. En pratique privée depuis 25 ans, il a assuré le traitement de monuments en Alaska, en Alberta, en Californie, dans l'état de Washington et en Colombie-Britannique. Parmi ses récents projets, il a fourni des services de restauration à l'aéroport international de Vancouver, au Musée de Vancouver et au Musée de Burnaby Village. Ses articles ont été publiés par le Getty Conservation Institute et l'institut canadien de conservation. Avant de se lancer en pratique privée, il a passé plusieurs années au sein des deux principales institutions de conservation du Canada : la division de la conservation de Parcs Canada et l'institut canadien de conservation à Ottawa. CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre 13

14 Western Regional Councillor David Daley David has been the Conservation Advisor at the University of Calgary Archives and Special Collections since He has worked at the Canada Museum of Science and Technology, the National Aviation and Agriculture Museums, the City of Toronto Heritage Division, and the Kitchener-Waterloo Art Gallery. He is a founding member of Ontario's Dufferin County Museum and Archives and has interned at the Canadian Conservation Institute and the McCord Museum of Canadian History. After completing the first year of Algonquin College's Museum Technology program, he transferred to Sir Sandford Fleming College's Collections Conservation and Management program, from which he graduated in Conseiller régional de l'ouest David Daley David occupe le poste de conseiller en conservation aux archives et collections spéciales de l'université de Calgary depuis Il a travaillé au Musée des sciences et de la technologie du Canada, au Musée national de l'aviation, au Musée de l'agriculture du Canada, au sein de la division du patrimoine de la ville de Toronto et à la Kitchener-Waterloo Art Gallery. Il est un des cofondateurs des Dufferin County Museum and Archives (Ontario) et a effectué un stage à l'institut canadien de conservation ainsi qu'au Musée McCord d'histoire canadienne. Après avoir terminé la première année du programme de techniques muséales du Collège Algonquin, il est passé au programme de conservation et de gestion des collections du collège Sir Sandford Fleming, où il a obtenu son diplôme en Eastern Regional Councillor Michelle Gallinger Michelle is a fine arts conservator in private practice. She received her accreditation from the CAPC in 2008 specializing in paintings. She has degrees from the University of Regina, including a Bachelor of Arts, Art History (1990), and a Bachelor of Fine Arts with Distinction (1994), Printmaking, and the Master of Art Conservation degree in paintings from Queen's University (1997). She completed her internships at the National Gallery of Canada and the Winnipeg Art Gallery. Michelle has been in private practice since 1998 working on a variety of materials, offering services in the conservation of paintings, murals, frames, soapstone sculpture and painted objects. In 2008, along with fellow conservator Julia Landry, they formed Gallway Art Consulting. She is on her second year as the eastern regional councillor. Conseillère régionale de l'est Michelle Gallinger Michelle est restauratrice d'objets d'art en pratique privée. Elle a obtenu son accréditation (spécialisée en tableaux) de l'acrp en Elle détient des diplômes de l'université de Regina, notamment un baccalauréat ès arts en histoire de l'art (1990), un baccalauréat en beaux-arts avec distinction en gravure d'art (1994) et une maîtrise en conservation des objets d'art (peinture) de l'université Queen's (1997). Elle a effectué des stages au Musée des beaux-arts du Canada et à la Winnipeg Art Gallery. Michelle est en pratique privée depuis Elle traite une grande variété d'articles et offre des services de conservation de tableaux, de murales, de cadres, de sculptures en pierre de savon et d'objets peints. En 2008, en collaboration avec sa collègue restauratrice Julia Landry, elle a cofondé Gallway Art Consulting. Elle en est à sa deuxième année en tant que conseillère régionale de l'est. 14 CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre

15 CAC /CAPC Liaison Julia Landry Julia is a paper conservator in private practice. She obtained her Masters in Conservation from Camberwell College of Art in London, England where she specialized in the conservation of library and archival material. Following graduation, she interned for three months in the India Office's conservation studio, a division of the British Library's conservation department. Since her return to Canada in 1994, Julia worked on contract for the Council of Nova Scotia Archives, before going full time into private practice in 1997 as a partner in Leaf by Leaf Book & Paper Conservation Services. In 2008 she formed an additional consulting business, Gallway Art Consulting, with fine arts conservator, Michelle Gallinger. She has worked for a wide variety of institutional and private clients on diverse projects ranging from hand painted Oriental wallpaper to an historic collection of telegrams. Julia has served on the CAC Board for several terms as eastern regional councillor. She is now the liaison for both CAC and CAPC and she is one of those working to develop a strategy for the merger of the two organizations. Agente de liaison entre l'accr et l'acrp Julia Landry Julia est une restauratrice d'articles en papier en pratique privée. Elle a obtenu sa maîtrise en restauration du Camberwell College of Art de Londres, en Angleterre, où elle s'est spécialisée dans la restauration de documents d'archives et de bibliothèque. Après l'obtention de son diplôme, elle a effectué un stage de trois mois au sein du studio de restauration de l'india Office, division du département de restauration de la British Library. Depuis son retour au Canada en 1994, Julia a travaillé à contrat pour les Council of Nova Scotia Archives avant de se lancer à temps plein en pratique privée en 1997 en tant que partenaire dans l'entreprise Leaf by Leaf Book & Paper Conservation Services. En 2008, elle a cofondé une autre firme de servicesconseils, Gallway Art Consulting, en compagnie de la restauratrice d'objets d'art, Michelle Gallinger. Julia a travaillé pour un grand nombre de clients institutionnels et privés à divers projets allant de papiers peints orientaux faits à la main à une collection de télégrammes historiques. Julia a rempli plusieurs mandats au sein du conseil de l'accr à titre de conseillère régionale de l'est. Elle agit désormais à titre d'agente de liaison entre l'accr et l'acrp et fait partie des personnes qui travaillent actuellement à l'élaboration d'une stratégie en vue de l'éventuelle fusion des deux organismes. CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre 15

16 38 th Annual CAC Conference 38 e Congrès Annuel de l'accr Peterborough, Ontario Workshop - 22 to 23 May 2012 Conference - 24 to 26 May 2012 Co-Chairs, Cindy Colford (ccolford@flemingc.on.ca) and Gayle McIntyre (gmcintyr@flemingc.on.ca) The Canadian Association for Conservation of Cultural Property (CAC) will hold its 38th Annual Conference and Workshop at the Holiday Inn in downtown Peterborough, Ontario, 22 to 26 May Workshops A two-day workshop, Preservation Unplugged, will explore new trends in preventive conservation with an emphasis on facilities and will be held 22 to 23 May A one-day workshop on basket-making will be held at the Curve Lake Cultural Centre on 23 May Conference - Call for Papers The theme for the Conference, to be held from 24 to 26 May 2012, is the Power of Preservation. Preservation aspects that highlight the significance, value, advocacy, and interpret the tangible and intangible aspects of what we do as preservation specialists in a wide scope of materials and disciplines. In additional to formal papers (20 to 30 minutes in length), submission for posters and ignite sessions is also welcomed. Abstract Format: Abstracts for should be between 300 and 500 words, and must include: title of presentation, names of all contributors, mailing address, telephone number, fax number, and of contact person, and name of presenting person(s). Submit abstracts in either French or English by attachment (MS Word, double-spaced, 12 point, Arial font) and indicate "CALL FOR PAPERS - CAC 2012" in the subject line by 31 January 2012 to: Jessica Lafrance 2012 CAC Conference Program Chair jessica.lafrance@live.ca A selection committee will review abstracts and notify speakers as soon as possible. Participation from stu- Peterborough (Ontario) Atelier - 22 et 23 mai Congrès - du 24 au 26 mai Coprésidentes : Cindy Colford (ccolford@flemingc.on.ca) et Gayle McIntyre (gmcintyr@flemingc.on.ca) L'Association canadienne pour la conservation et la restauration (ACCR) tiendra son 38e congrès annuel à Peterborough, en Ontario, du 22 au 26 mai Le congrès annuel 2012 aura lieu au Holiday Inn Waterfront, au centre-ville de Peterborough, en Ontario. Ateliers Un atelier de deux jours, intitulé Preservation Unplugged, permettra aux participants d'explorer les dernières tendances en conservation préventive, et plus particulièrement en ce qui concerne les installations. Cet atelier aura lieu les 22 et 23 mai. De plus, un atelier d'un jour sur la fabrication de paniers sera offert au centre culturel Curve Lake le 23 mai. Congrès - appel de présentations Le congrès, qui aura lieu du 24 au 26 mai, aura pour thème Le pouvoir de la préservation et abordera les aspects de la préservation qui mettent en évidence l'importance et la valeur de ce que nous faisons, se penchera sur la promotion de notre profession et interprétera les résultats tangibles et intangibles de notre travail en tant que spécialistes de la préservation. tout en tenant compte d'une grande variété de matières et de disciplines. En plus des présentations complètes (d'une durée de 20 à 30 minutes), les affiches et les présentations de type " ignite " sont également acceptés. Format des résumés : Les résumés doivent faire de 300 à 500 mots et doivent comprendre le titre de la présentation, les noms de tous les collaborateurs, l'adresse postale, le numéro de téléphone, le numéro de télécopieur et l'adresse de courriel de la personneressource ainsi que les noms des présentateurs. Veuillez nous faire parvenir vos résumés en français ou en anglais par courriel (MS Word, double interligne, Arial 12 points) et indiquer " APPEL DE PRÉSENTATIONS - 16 CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre

17 dents, new members and professionals from allied fields is encouraged. Additional Conference and Workshop updates will be posted on the CAC website ( ACCR 2012 " dans la ligne d'objet. Le tout doit parvenir au plus tard le 31 janvier 2012 à : Jessica Lafrance Présidente du programme du congrès 2012 de l'accr jessica.lafrance@live.ca Un comité de sélection évaluera les résumés et avertira les conférenciers retenus le plus tôt possible. Nous invitons les étudiants, les nouveaux membres et les professionnels de domaines connexes à participer. De plus amples renseignements sur le congrès et les ateliers seront publiés sur le site de l'accr ( CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre 17

18 The Merger Committee Explained At the Winnipeg AGM, there was a brief report from the Merger Committee and, for the benefit of those members who were not there, we have prepared this short article to explain who we are and what we are working on. Roughly two years ago, the idea of a merger between the CAC and the CAPC reappeared as an item for discussion on a CAC Board meeting agenda. As the liaison between the two organizations, I was asked to take it to the next CAPC Board meeting and see how it was received. Both organizations felt that perhaps it was something to reexamine, and it became an item for discussion at a subsequent joint meeting where it was decided to take a look at the studies that had been done before and see where they led us. Not surprisingly, this resulted in the formation of a committee and a call for volunteers from both groups. The resulting Merger Committee consists of myself as Board liaison, Andrew Todd (CAC) and Marianne Webb (CAPC). In accordance with our provisional mandate, we reviewed the studies that had gone before, as well as studying other organizations who offer accreditation and general membership within the framework of the same organization, like ICON in the UK. It quickly became apparent that if we were to launch yet another study of the related issues, we would simply be reinventing the wheel and that seemed like a waste of everyone's time. The initial studies were comprehensive and well researched and their findings clearly documented. It seemed to make more sense to build on them rather than repeat them. Accordingly, we drafted an official mandate for ourselves and received approval for it from the Boards of both organizations. Merger Committee Mandate To review existing models and discussion papers concerning the potential organizational joining of CAC and CAPC and develop a procedural methodology. Earlier committees found that the time was not right for the joining of the two groups, however, we feel that the situation has changed in the intervening years as have the organizations themselves. Issues such as the scarcity of resources, both human and financial, and the duplication of effort by the two bodies suggest that this is a propitious time to re-evaluate the situation. A merger is a delicate and complex proposition and involves much more than one organization being absorbed or taken over by the other. Neither is it something to be apprehensive about, because it simply cannot occur without the support of the majority of both membership groups. The merger committee has discussed the process in detail and has finally decided to start at the end and work out what a merger of the two groups might look like. Once we are agreed about where we want to go, we can work out the most straight- Le comité de fusion ACCR/ ACRP : compte-rendu Lors de l'assemblée générale tenue à Winnipeg, le comité de fusion a présenté un bref rapport. Pour nos membres qui n'étaient pas présents à cette assemblée, nous avons rédigé ce court article afin d'expliquer qui nous sommes et ce que nous faisons. Il y a environ deux ans, l'idée d'une fusion entre l'accr et l'acrp a refait surface dans l'ordre du jour d'une réunion du conseil d'administration de l'accr. Comme j'étais agente de liaison entre les deux organismes, on m'a demandé de présenter l'idée lors d'une réunion du conseil d'administration de l'acrp afin de voir comment elle serait accueillie. Comme les deux organismes estimaient qu'une fusion était une éventualité à réexaminer, l'idée a été ajoutée à l'ordre du jour d'une réunion conjointe subséquente. On a alors décidé de revoir les études qui avaient été faites dans le passé afin de voir où cela nous mènerait. Sans surprise, un comité a été formé pour s'en occuper et on a demandé la participation bénévole des membres des deux organismes. Ce comité, le comité de fusion, est constitué de moi-même (agente de liaison), d'andrew Todd (ACCR) et de Marianne Webb (ACRP). Conformément à notre mandat provisoire, nous avons réexaminé les études faites dans le passé, tout en analysant d'autres organismes offrant l'accréditation et l'affiliation au sein d'une même organisation, comme ICON au Royaume-Uni. Nous nous sommes rapidement rendu compte que si nous amorcions une autre étude des questions relatives à une éventuelle fusion, nous ne ferions que réinventer la roue, ce qui nous apparaissait comme une perte de temps pour tout le monde. Les études initiales étaient complètes et approfondies et leurs conclusions étaient largement documentées. Il nous semblait plus logique d'avancer en nous basant sur ces études que de les refaire du début. Ainsi, nous avons rédigé un mandat officiel pour le comité et reçu l'approbation des conseils des deux organismes pour aller de l'avant. Mandat du comité de fusion Revoir les modèles existants et les documents de travail concernant une éventuelle fusion entre l'accr et l'acrp et élaborer la méthodologie permettant de réaliser cette fusion. Les comités qui nous ont précédés ont tous déterminé que le moment n'était pas idéal pour fusionner les deux organismes. Nous estimons cependant que la situation a changé depuis ce temps, tout comme les organismes. Des problèmes tels que la rareté des ressources, tant humaines que financières, et la duplication des initiatives par les deux organismes nous laissent croire que le temps est venu de réévaluer la situation. Une fusion est une opération délicate et complexe qui va bien au-delà d'un organisme qui se fait simplement absorber ou 18 CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre

19 forward way of getting there. Neither organization will retain 100% of its current structure, that is neither possible nor practical. There will be gains and losses on both sides but we hope that the finished product will emerge as a strong viable body, greater than the sum of its parts. Our committee is a small one, but it is not our intention to operate in a vacuum. We report regularly to the boards of both the CAC and the CAPC and from time to time we will be publishing progress reports in The Bulletin. As members of one or both organizations, your thoughts and ideas are important to the process. If you have points that you would like the committee to consider, or you simply have a question, please feel free to send us an . Your concerns cannot be addressed or considered if we don't know what they are. My address is paperlady@leafbyleaf.ca. Your message will receive an acknowledgement and will be circulated to the other committee members. Julia M. Landry CAC-CAPC Liaison contrôler par un autre. Ce n'est pas non plus quelque chose qu'il faut appréhender, car elle ne pourra jamais se réaliser sans le soutien de la majorité des membres des deux groupes. Le comité de fusion s'est penché sur le processus et a finalement décidé d'aborder le problème par la fin en déterminant à quoi une fusion entre les groupes ressemblerait. Une fois que nous nous sommes entendus sur ce que nous voulons atteindre, nous pouvons établir la façon la plus directe d'y parvenir. Aucun des deux organismes ne pourra conserver sa structure actuelle dans son intégralité, car ce ne serait ni possible, ni pratique. Il y aura des gains et des pertes des deux côtés, mais nous espérons que le résultat final donnera un organisme fort et durable, plus grand que la somme de ses parties. Notre comité est petit, mais nous ne comptons pas évoluer en vase clos. Nous rendons régulièrement des comptes tant à l'accr qu'à l'acrp et, de temps en temps, nous publierons des mises à jour dans le Bulletin. À titre de membre d'une ou des deux organisations, vos commentaires et suggestions sont très importants dans le processus. Si vous avez des idées à soumettre au comité ou si vous avez une question à nous poser, n'hésitez pas à nous envoyer un courriel. Nous ne pouvons pas répondre à vos questions ou tenir compte de vos idées si nous ne les connaissons pas. Écrivez-moi à : paperlady@leafbyleaf.ca. J'accuserai réception de votre message et le transférerai aux autres membres du comité. Julia M. Landry agente de liaison entre l'accr et l'acrp CAC Nationwide Survey of Conservators Watch out for a link to the nationwide survey of conservators that will be on our CAC website soon. Just click on the link surveymonkey.com/s/cac-accr and use the password "conservation". For those of you who do not have access to a computer, or share a computer, please contact us and we will send a paper version to you. The survey will run until December 31, perhaps longer, depending on the response. There will be further information and instructions on our website. We hope that you will all participate! Sondage national de l'accr sur les conservateurs / restaurateurs Surveillez bien le lien au sujet d'un sondage à l'échelle nationale sur les conservateurs / restaurateurs; lequel sera prochainement sur notre site Web de l'accr. Cliquez simplement sur le lien "surveymonkey.com/s/cac-accr" et utilisez le mot de passe "conservation". Pour ceux qui n'auraient pas accès à un ordinateur, ou qui n'auraient pas l'occasion d'en partager un, veuillez s'il vous plaît nous contacter et nous vous enverrons une copie papier. Le sondage sera en ligne jusqu'au 31 décembre, peut-être un peu plus dépendant du taux de participation. Il y aura davantage d'informations et d'instructions sur notre site Web. Nous espérons que vous participerez tous! CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre 19

20 CAC-Emerging Conservators Committee Jessica Lafrance has stepped down from her position as Co-chair of CAC-ECC to pursue her new position as Vice President of the CAC. Congratulations Jessica! In her place, Meaghan Monaghan will be joining Elspeth Jordan as Co-chairs for the remainder of the 2010/11 term. Meaghan Monaghan graduated from Queen's with a Master of Art Conservation in 2010 and she is currently a Painting Conservation Fellow at the Yale University Art Gallery, working with a team to conserve a series of 19th-century American decorative murals. We are very happy to say that we are in the process of becoming a permanent committee within the CAC. Our main goals in the recent months have been to increase awareness of our committee and inform emerging conservators of the benefits of CAC membership. A CAC-ECC representative visited each of the training programs, Algonquin, Fleming, and Queen's, to provide information about CAC membership and we will continue to do this every fall. In May committee volunteers Stephanie Porto and Jennifer Roberts partnered with AIC's Emerging Conservation Professionals Network to give a short talk and present a poster about CAC-ECC at the ANAGPIC Student Conference in Delaware. Finally, the CAC-ECC Meet & Greet at the conference in Winnipeg was a huge success. Current students and recent graduates were joined by many enthusiastic established conservators for red velvet cupcakes, ice cream floats, wine, great conversation and networking. Thank you so much to all those who participated! Two projects currently in the works are another CAC- ECC Meet & Greet at the CCI Adhesives Symposium in Ottawa this October and the creation of The Emerging Conservators Survival Guide. Call for Submission for The Emerging Conservators Survival Guide: Does the thought of forms, flights and customs send you into a fury? You can relax! Work is starting on The Emerging Conservators Survival Guide! This guide will provide information so that you can boldly go where others have gone before. We need your tips, tricks, and horror stories related to studying, undertaking internships and working abroad. This guide will be published as a digital document, and as a pamphlet for dissemination throughout the Canadian conservation community. Please send your information or questions to Comité des restaurateurs émergents Jessica Lafrance a quitté ses fonctions de coprésidente du CRE afin d'occuper celles de vice-présidente de l'accr. Félicitations Jessica! Pour la remplacer, Meaghan Monaghan se joindra à Elspeth Jordan à titre de coprésidente pour le reste du mandat Meaghan Monaghan a obtenu sa maîtrise en conservation des œuvres d'art de l'université Queen's en 2010 et est actuellement boursière en conservation de tableaux à la galerie d'art de l'université Yale, où elle travaille avec une équipe à la restauration d'une série de murales décoratives américaines du 19e siècle. Nous sommes très heureux d'annoncer que le comité est en passe de devenir un comité permanent de l'accr. Dans les derniers mois, nos principaux objectifs ont été de faire connaître notre comité et d'informer les restaurateurs émergents des avantages d'une adhésion à l'accr. Un représentant du CRE a rencontré les étudiants de chacun des programmes de formation (Collège Algonquin, Collège Fleming et Université Queen's) pour diffuser des renseignements à propos de l'adhésion à l'accr. Nous répéterons l'expérience chaque automne. En mai, les bénévoles Stephanie Porto et Jennifer Roberts se sont alliées au Emerging Conservation Professionals Network de l'aic pour donner une courte présentation et présenter une affiche à propos du CRE de l'accr au congrès des étudiants de l'anagpic, au Delaware. Aussi, le cocktail de bienvenue organisé par le CRE lors du congrès de l'accr à Winnipeg a été un grand succès. Les étudiants et les récents diplômés ont été rejoints par des conservateurs-restaurateurs établis et enthousiastes avec au programme des petits gâteaux rouge velours, des flotteurs glacés, du vin, de captivantes conversations et de belles occasions de réseautage. Merci à tous les participants! Parmi nos autres projets en cours, notons un autre cocktail de bienvenue du CRE de l'accr qui aura lieu dans le cadre du Symposium sur les adhésifs de l'icc à Ottawa en octobre et la création du Guide de survie du restaurateur émergent. Invitation à nous faire parvenir du contenu pour le Guide de survie du restaurateur émergent : La simple idée de remplir des formulaires, de prendre l'avion et de passer les douanes vous rend nerveux? Vous pouvez relaxer! Nous amorçons la rédaction du Guide 20 CAC Bulletin de l ACCR Vol. 36 No. 2 September 2011 septembre