My father gifted me an old painting that unfortunately was damaged (has two holes in the canvas).

In a weird timing of events, I’m also moving far away and not planning on moving with the painting.

I’m looking for advice for what to do. I would feel terrible just throwing it away, so I’m hoping to donate it to some sort of art conservation program or place? I’m currently in NYC.

Hey there! I was just wondering if anyone knows why this photography conversation program is no longer accepting students? And also, if you think it might accept in the future? It’s been 5 years from that supposed announcement so just wondering…

I am interested in Photography Conservation Master programs in USA or Europe if you have any other recommendations, thanks!

https://www.sas.rochester.edu/ppc/

 It seems that for many many years I've got away from he habit of spray fixing my drawings. I have a collection of products on hand from previous decades and am curious if anyone has any experiences or comments regarding them? Most are 10 or more years old and may no longer be in production:

1. -Lascaux Fixativ #2070 (300ml)

2. -Blair #105 ‘Very Low Odor’  workable matte fixative, 12oz, -Blair #01-10506 ‘Very Low Odor’ , 4.5oz. 

3. -Blair #105  ‘No Odor Workable Matte Fixative, 12oz [are we entering the realm of visionary marketing/magical thinking/consumer manipulation?]

4. -Krylon Workable Fixatif #1306, 11oz.

5. -Grumbacher TUFFILM Final Fixative, Matte 11.75oz

6. -Reworkable Blue Label Fixatif (Martin/F. Weber Co.), liquid,  16 fl oz. (“use atomizer or airbrush to apply light application”).

7. I’ve also used a few Senellier products sold in liquid form, plastic bottle with manual pump atomizer ( (i.e. not pressurized): ‘Delacroix’, ‘Latour’ (pastels), D’Artigny (oil pastels). This was some years ago.​

Also does anyone know where one can purchase quarts or gallons of spray fix in liquid form (see for ex. 'Reworkable Blue Label Fixative' above) that I could apply with my high quality HVLP spray rig? I think it would be significantly more cost effective vs. buying dozens of rattle cans.

Thanks a bunch.

I have several hundreds (thousands?) of drawings from several decades in need of spray fix and thought it might be vastly more cost effective to mix my own fixative from raw materials and apply it using my high quality HVLP spray gun set up vs. expensive single use rattle cans (i.e. Lascuax @ $30+/can).

Can anyone direct me to recipe(s) of archival grade spray fix and/or advise?

Is there any significant difference between a workable fix and spray fix, except for ex. the proportion of varnish?

Thanks a bunch!

For years I've used glassine paper, purchased by the roll and cut to size, placed between the pages to prevent smearing. Is this the best recommended paper for this use scenario, especially as concerns the 'smearing parameter'? On occasion I've used artist's white tape free to adhere the glassine to the top edge of the paper sheet to maintain it in a more or less fixed position (i.e. less sliding around between interleaving paper and drawing paper so less smearing).

I always have a drawing pad in process (typically Strathmore 400 series smooth or medium surface; I use an elastic cord around the pad when closed to help prevent the pages from shifting/rubbing too much) and very often it's a daily carry item so resides in my backpack, often stuffed in with other stuff. The media is typically graphic and sometimes charcoal pencil. When completed the pads are kept intact for the most part (i.e. individual sheets are not later removed from the pad) however sometimes a pad will be worked on and off for a year or more, therefore it can receive excessive++ handling. I rarely spray fix anything (I need to remedy that).

Many moons ago I purchased a spiral bound drawing pad from NY Central which they produced themselves using high quality (IIRC pastel) paper and each sheet alternated with a sheet of opaque white slick semi-gloss interleaving paper, which was kept in a more fixed position due to being bound, a great drawing pad design I'd like to see more of. I've often wondered what that interleaving paper type was, if it's commonly used, and if it outperforms glassine in this use scenario. Glassine - although smooth - does have a tooth of sorts as compared with this extremely slick white semi-gloss paper.

Speaking of glassine: is anyone aware of packs of pre-cut 9" x 12" sheets? I've got dozens of drawing pads that need retrofitting.

Thanks a bunch!

Howdy, all! I have a series of small oil on masonite panels (measuring on average about 8 x 10 in.). I need to mount them into custom sized and built float frames. What's the most archivally sound method of adhering the panel to the backing board? I've considered either 100% silicone adhesive, white neutral pH adhesive, and/or velcro strips. Anything additional I should consider? Any recommendation of different methods/adhesives??

I have two Crayon Enlargement's of my 3rd and 2nd great grandparents that are 1890s-1900s, the one of my 3rd great grandparent's has a few tiny white specs. I store the portraits in my dark closet with a blanket covering them so dust won't land on it, the closet is usually 69 degrees but will range from 67-72, humidity is usually 49-50 but will range from 47-52. I'm just worried it will become like some of those crayon enlargements that have giant white patches. I've posted the portrait's earlier so I'd encourage you to check, the one I'm talking about is with the guy who has a beard.

I stretched artist grade linen canvas and primed it with two coats of rabbits skin glue, drying fully before the next coat. I wanted to keep the linen texture visible so I didn’t gesso it and read that it was fine if there are two coats of glue on it.

I started painting and used turponoid to dilute some of the paint, a few days later I turn the back and there are visible blue paint spottings on it. Does this mean my painting is done for? What can I do to prevent/avoid this happening in future paintings?

I noticed some other canvases I had painted had similar spottings on the back including one from Blick that I had purchased already prepped for painting.

I have a few pieces of art 2 from the 60s and the other two haven’t been able to originate. But they all have wood on them 2 are just framed in wood that has become weak and likes to move I assume a repairer could just glue it or something better idk. The full wood ones are completely wood no canvas the guy painted on wood they’re very nice but the nail/staples that are holding in the wood have give way leading to some boards popping out. I could just nail more in but don’t wanna risk popping through the art work. Could anyone recommend someone near Michigan that could repair this kinda stuff.

I hope this is the right place to ask, if not, if anyone knows other subreddits where else I can get answers, please let me know. I found this painting that unfortunately was left in storage that water got to. It is just the bottom corner of the frame that was affected, but as you can see in the pics, the moisture did creep up to the canvas itself. I have carefully removed it from the frame and it has dried, but there is damage. Can this be saved? Or can I do anything to it for now to stop it from deteriorating anymore? It is by a known Canadian artist so I don't just want to get rid of it. Thanks!

https://imgur.com/a/cM218Kv

I am an avid vintage poster collector and have been for the past 35 years. I have watched with amazement how others I have encountered over the years have skillfully restored and preserved old paper and posters I found (my oldest is a two panel printed in 1894).

I want to learn how to restore and preserve posters with linen lining so I can do it myself. This will allow me to expand my interests within my budget with a goal of opening my own business in semi-retirement someday.

I am looking for course of study to learn. I am afraid that too many YouTube videos is making me think reckless thoughts and one day I will do something stupid in my garage.

I am open to learning in either English or Spanish (but alas, not French). Preferably hands on.

Any suggestions?

​

I just came across this incredible resource over at r/MuseumPros which is a comprehensive list of job boards for museum-related positions. I would absolutely love to do this for conservation to add it to our sidebar links!

If any of you have a couple of go to spots to look for job postings, please consider adding them here so I might collect them into one accessible location!

A few to get the ball rolling:

American Institute for Conservation Career Center

International Institute for Conservation Job Board

University of Delaware Jobs and Internships Database

Midwest Regional Conservation Guild Job Postings

Washington Conservation Guild Jobs

​

https://preview.redd.it/7khrjwluf8wc1.jpg?width=270&format=pjpg&auto=webp&s=3a68133b5e3c105d47f9d52b62e9a21ca2bb5381

Hi everyone,

I have my first ever conservation job interview next week and I am a little nervous! I am wondering if there are any tips or things you wish you would have known before going into your first conservation interview. Will they ask me standard interview questions, like “what is your biggest weakness” or “can you tell me that one time you had to over a disagreement at work”? Any advice would be greatly appreciated.

😊 Thank you!

Great to see some colleagues (and the beautiful space!) profiled in a major outlet:

https://nyti.ms/3W0GxTp

I'm a parent helping my undergraduate daughter and aspiring conservator to think through career planning decisions carefully. I know that this is a really tough field, that after all the work to get into grad school, even that is a long shot, and then it can be hard to find a job, the jobs that exist tend to be short-term, and the pay isn't great. I've seen the salary surveys, but I'm also interested to hear about the people who never land a job in conservation. Does anyone know of anything for conservation grads similar to the career placement stats that 4-year colleges publish? That is, if there are 30 or 40 art conservation grads from the US grad programs in any given year, how many find jobs in conservation within 6 months, a year, two years?

I'm also curious to know, if you couldn't be a conservator, what would you choose instead? Daughter's two main criteria are (1) working in a museum and (2) being hands on with artifacts. I think (1) is a little flexible but (2) is their primary career criterion.

Anything else (beyond the standard FAQs) you would've wanted to know or consider as an undergrad?

Hi, Im currently having a quater life crisis and I've recently been considering art conservation.

I studied art direction for 3 years but I hated it, however classes that I loved was our drawing course and art history.

Conservation seems like a really fully career however I am concerned with the career prospects. I'm having a hard time finding information on whether or not art conservators are in demand or if it's an over-saturated field.

Also, from what I understand, you become an art conservator after your masters? like you have to do a masters? because i can't seem to find bachelors or straight up training for it.

Are masters very competitive to get into? I'm looking only in Europe so for example University of Amsterdam seems to have a great program, but I can't telling how selective it is.

​

I would reaaaally appreciate any help or advice or answers, I've been doing research but hearing personal advice would be amazing>

Hello! Looking for some advice for grad school, I am on my second year of applying for conservation programs in NA and abroad (I am from the US). This year I was accepted to University of Bologna in Ravenna, I have some archaeological experience in the EU and would love to do a masters there. I have been warned about the difficulty of returning to the US after getting an MA abroad. Would getting my degree abroad open up opportunities in Italy or the EU? Or would it be better to stay in NA for a masters and later career work. Any advice, input, or personal experience is so appreciated!

Hey team,

I have a somewhat naive question. How does one go about requesting/convincing a museum to test the material of an object? I'm an MA art history student and will write my thesis on an ivory object I believe is not. I've accessed the object file and there has been VERY little research on it for a rather significant collection/museum-- date and origin aren't agreed upon among the museum curators. I have the support of my professor and two other well-known scholars so this isn't unmerited. I'm unsure how to begin as I know it is no easy task. Is there a formal process for this kind of request? How do I initiate the conversation?

(It's a whole other story to address frustration that I'm not prepared to do these things but almost graduated from my program!!!)

Dear Conservators,

I am a person who has applied for the first year at the two big programs, and FIT for their conservation programs. I was rejected from WUDPAC and Buffalo, (just short on a few requirements) and was accepted into the FIT program.

I am trying to decide if I should jump in and take the offer from FIT, or if I should defer (if an option) and reapply next year again at all programs.

Other context: I have a degree in Anthropology, and 8+ years of collections management and preventative conservation experience. I have just finished my first Organic chemistry course, and am taking a short break before I take the last class. I have just a few studio art things to build on before next application cycle and art history. And will have that all done well in advance of the next application cycle.

I would love to hear thoughts on the FIT program, how y'all think it compares to other Textile Conservation programs and the benefit to starting sooner rather than later. Or sticking it out for another year and reapplying every where.

Sincerely,

Safe_Molasses_8750