13:01:09 Navigate the, um,
13:01:10 The flow of the conversation.
13:01:14 So without further delay,
13:01:15 we can go ahead and begin the recording and we will pass things off to
13:01:20 our host. Robin bell were kill. Go.
13:01:21 Go ahead, Robin.
13:02:15 Hi, everyone. Welcome to another C to C care, a webinar. Um,
13:02:18 this one's titled care of outdoor collections. Before I start,
13:02:21 I would like to acknowledge that this webinar is being moderated on
13:02:23 the traditional lands and then make a sooky in Seminole people and
13:02:25 their ancestors. And I pay my respect to both elders past and present.
13:02:29 So, again, welcome to everyone where you are really excited to do this
13:02:33 presentation today. It should be a good one.
13:02:34 Um,
13:02:35 I'm going to go through a few slides and then I will hand the actual
13:02:38 presentation over to our speakers. So as I said,
13:02:41 my name is Robyn Bauer Kilgo.
13:02:42 I am the community coordinator for C to seek care.
13:02:45 And you just saw Mike.
13:02:45 I see you're a senior producer over at learning times.
13:02:47 Before we go into it.
13:02:48 I did want to reintroduce our community or the group that's listening
13:02:51 today to our home on the web.
13:02:52 Um, we are@connectingtocollections.org.
13:02:55 We recently kind of did some reorganization on the front page.
13:02:57 So if you have questions on where thing is,
13:02:59 feel free to shoot me an email at, um,
13:03:00 our email address listed on there, or you can comment along. Um,
13:03:04 we're pretty excited by the redesign. Just generally speaking.
13:03:06 We hope it'll make things. People find things a little simpler.
13:03:08 There are two big information areas on the website right now that I
13:03:11 want to draw focus to.
13:03:12 When is the webinar section and when is the courses section?
13:03:15 Uh, webinars actually happen once a month. They are free.
13:03:17 This is one of the ones you guys are at right now.
13:03:20 If you go to the webinars section,
13:03:21 you will be able to see upcoming program also, uh,
13:03:24 an archive of all the webinars that this program has done going back
13:03:27 for years. So if you want to dig around in there, feel free.
13:03:29 We also have a separate courses page that lists the different courses
13:03:32 that CDC has taken on a C to C courses, UC care, excuse me.
13:03:36 Courses are a little different. They're more in depth.
13:03:38 We do charge for them, but there still are really great content.
13:03:41 We have one going on now about physical media and digital storage.
13:03:45 So if you're interested in finding out more about that,
13:03:47 just go to our website and look under the course's area.
13:03:49 We also have the community tab. That's the discussion area. Um,
13:03:52 it's a really protected,
13:03:53 great area to ask questions of our different people. They might have,
13:03:57 um, a different questions they might have when it comes to collections
13:03:59 care.
13:04:00 Um, it is moderated. So we approve all the messages that go in there.
13:04:03 And we have a fabulous group of monitors who will take a look at those
13:04:06 questions and get you expert advice from different conservatives from
13:04:09 around the country. So I do urge you to go take a look at that.
13:04:11 We had two homes on social media.
13:04:12 They are Facebook home and our Twitter home. Um, it's a great place.
13:04:16 If you're on either of those platforms, feel free to follow them.
13:04:18 If you do,
13:04:19 you'll get notifications for all of our upcoming programming.
13:04:21 Speaking of upcoming programming. Um,
13:04:23 we have one that we're in the works with right now,
13:04:25 but I think the dates pretty firm.
13:04:26 So I wanted to let everyone know on November 9th,
13:04:29 we are hoping to do a panel on social justice and museums collections
13:04:32 round table. So, um,
13:04:33 we're going to be getting speakers from across the country.
13:04:35 Just talking about.
13:04:36 How we're dealing with museum collections with kind of these sensitive
13:04:39 subjects right now. So, um, once registration opens for that,
13:04:42 it'll be blasted across social media.
13:04:44 We will have it on our website.
13:04:45 And if you're interested in listening and I do urge you to go ahead,
13:04:48 it'll be a free program. So we hope everyone will enjoy it.
13:04:50 Mike covered this already, but as you guys have seen,
13:04:53 we have switched platforms. We are no longer on event center.
13:04:55 We are now on zoom for our programming.
13:04:57 So I just wanted to cover again that if you decide to use the chat
13:05:00 box, that's great. The chat boxes for technical questions.
13:05:03 Um, or just commenting on things.
13:05:05 The question box is what you're going to be using to actually ask
13:05:08 questions of our panelists.
13:05:11 So I just urge you, if you have a question,
13:05:14 feel pretty use that Q and a box.
13:05:15 We will be keeping an eye on both boxes throughout the entire webinar.
13:05:18 Um, but the Q and a box is really a good spot to put it in a question
13:05:20 cause we can kind of track the questions as they come in for everyone.
13:05:23 So I'm going to go ahead and introduce our three speakers today.
13:05:26 We're very excited by this. Um,
13:05:27 we have Nancy or Abdel from Shelburne museum. She's an objects.
13:05:30 Conservator Kelly.
13:05:38 Who's the principal.
13:05:39 Conserver at our Rosa Lowinger associates and Christina Barbie.
13:05:42 Who's also a conservator at Rosa, low injures associates. Um,
13:05:46 we get to talk about collections.
13:05:47 We get to talk about all the different parts of the country we live in
13:05:50 today. So we're pretty excited.
13:05:51 So I'm going to go ahead and stop sharing my screen.
13:05:53 And I'm going to hand the mic over to Nancy,
13:05:55 who is our first speaker today,
13:05:56 and we will see you at the end for our Q and a period. Thanks.
13:05:59 Thanks Robyn. I'm going to go ahead and.
13:06:01 Let's see.
13:06:02 Share my screen here.
13:06:03 Sorry about that.
13:06:05 Oh, so you're going, it's going to have to.
13:06:06 Open this back up. Sorry about that.
13:06:20 Just when you thought you had it all together.
13:06:29 Alright, here we go.
13:06:42 All right.
13:06:43 So my name is Nancy Ravenel and I'm the object conservator at
13:06:46 Shelburne museum located in a place now known as Shelburne Vermont.
13:06:52 Between Lake Champlain and the green mountains, Shelburne,
13:06:55 as well as the town I live in is part of the ancestral unceded lands
13:06:58 of the Wabanaki Confederacy and the Abenaki people.
13:07:01 I would like to acknowledge the Abenaki community.
13:07:03 And pay their respects to their elders past, present and future.
13:07:06 Now because of our location,
13:07:07 the winters are cold and snowy averaging about 72 inches per year.
13:07:10 Of snow. Um, early spring is referred to as mud season.
13:07:13 And our summers are warm and moderately humid.
13:07:17 All of this has an impact on how we care for outdoor objects at the
13:07:19 museum.
13:07:29 So I'm curious about how you would describe the climate,
13:07:32 where you are. And Robin, could you put up the poll about, uh,
13:07:36 asking that.
13:07:37 We'll take a few minutes so that you can.
13:07:38 Respond.
13:07:46 And I don't know if we can see results when.
13:07:49 It's sort of.
13:07:50 Tapered out.
13:08:12 This is Robyn and pop it back on the screen really quick.
13:08:14 It's looking like we have a lot of people who are having cold snowy,
13:08:17 winters and warm humid summers.
13:08:19 That looks like the majority. Although the next step would be cold,
13:08:21 wet, winters and hot humid summers.
13:08:23 All right. Interesting.
13:08:24 Well, hopefully we've got a few things that will help.
13:08:30 Things that I can share that will spark some ideas for you all.
13:08:33 So if you're not familiar with Shelburne museum,
13:08:40 Um,
13:08:42 it was founded in 1947 by electro half a Meijer Webb who when pressed
13:08:45 to characterize Shelburne museum.
13:08:51 Um,
13:08:53 described it as an educational project and varied and alive so that it
13:08:56 doesn't give us a tremendous, it gives us a lot of latitude when,
13:08:58 as we think about the museum, as it moves into the future.
13:09:00 Um,
13:09:02 the exhibition buildings or a combination of examples of vernacular
13:09:05 new England architecture,
13:09:06 moved to the site and purpose built structures.
13:09:15 And the intent was not to create an authentic historic village,
13:09:18 but to replicate the feel and this romantic vision of the past in turn
13:09:21 informs the placement and presentation of many of the objects
13:09:23 displayed outdoors.
13:09:25 Staffing wise.
13:09:26 I describe us as a medium sized with about 65 full time year round
13:09:30 staff.
13:09:31 That do all of the things at the museum.
13:09:36 Three teams at the museum are tasked with direct care of outdoor
13:09:39 objects,
13:09:40 depending on our skills location of the objects and the objects
13:09:43 themselves.
13:09:44 So Robin, heres the second poll. If you could put that up for folks.
13:09:47 I'm interested in knowing what roles you play.
13:09:54 We're loading it up right now. So feel free to.
13:09:56 There's a pole.
13:10:03 It looks like we have a lot of collections care.
13:10:05 Not surprising.
13:10:08 It's kind of impressive.
13:10:10 To see the level of where it is.
13:10:15 I'll go ahead and end it.
13:10:16 And then you guys can take a look at it real quick. If you want to.
13:10:18 Oh, my goodness.
13:10:31 I'm surprised that we don't have more people who wear more hats
13:10:36 personally, but, um, that's, that's nice that people are, are, um,
13:10:39 pretty strongly, um, collections care here. It's interesting.
13:10:43 So here I've listed some of the individuals at Shelburne museum who
13:10:45 had been involved with our collections outdoors.
13:10:47 I especially want to thank just Gallus for her.
13:10:50 For sharing her viewpoints and the grounds crews processes with me.
13:10:53 Um,
13:10:54 while the museum's landscape is perennially popular with our visitors,
13:10:57 it took on an even larger role this year.
13:11:00 Um, given the pandemic.
13:11:02 And it typically a year,
13:11:03 all of these people do play some role in how we care for objects
13:11:05 displayed outdoors.
13:11:07 Um,
13:11:08 alongside seasonal staff and volunteers that expand the landscape and
13:11:11 ground staff.
13:11:12 Turnover is a given.
13:11:13 And so ongoing training is necessary.
13:11:22 Um, however, this year,
13:11:23 the museum did not hire extra grounds crew and gardeners for
13:11:25 the season. And many of the people on this list,
13:11:28 including the carpenters, the painters.
13:11:38 The art handlers in me. Um, we're helping out in, um,
13:11:42 on the grounds and in the gardens this, this summer.
13:11:44 And so in addition to our usual job descriptions,
13:11:47 and this has helped encourage new conversations about how we care for
13:11:50 objects displayed outdoors.
13:11:50 So, what I'm saying here is that our program continues to evolve.
13:11:53 And some of what I'll be sharing is how we're working to improve.
13:11:59 So what kind of objects are we talking about at Shelburne museum?
13:12:01 Some are accessioned and cataloged while others were placed on the
13:12:04 ground. At some point during the museum's history.
13:12:09 But we've not yet found the paperwork about how they got there.
13:12:11 And I don't think we're the only museum, um,
13:12:13 on this webinar that has found in collections items. That's that.
13:12:16 Pretty much.
13:12:17 State of it seems to be something we can all share.
13:12:28 Um, in addition to historical items like the granite snow roller,
13:12:30 and if you don't know what a snow roller up is,
13:12:32 it's sort of a precursor to a snow plow.
13:12:34 It just kind of compressed the snow on the roads rather than actually
13:12:38 removing the snow.
13:12:39 Um, we also have a sculpture like turtle baby scene in the top.
13:12:43 Um,
13:12:44 Shoot, who also is a fountain. And, um,
13:12:46 and then so CA care of the sculpture has had historically been tasked
13:12:49 to collections team.
13:12:50 While, uh,
13:12:52 Care of the historical objects in the architectural features like the
13:12:54 painted signs are under the purview of preservation and landscape.
13:13:01 To further activate the landscape.
13:13:02 The museum has hosted a yearly outdoor sculpture exhibition running
13:13:05 from may to early.
13:13:07 November since 2016 and we have been borrowing a contemporary works
13:13:11 directly from artists or their galleries.
13:13:15 The first exhibition was works by George. Sure.
13:13:17 What a new England artists to create kinetic sculptures.
13:13:24 And how we care for those sculptures while they are on the grants has
13:13:26 worked out as part of the loan agreement,
13:13:27 crafted by the registrar for exhibitions and loans,
13:13:29 with input from the artists.
13:13:31 So here's a couple more examples of the kinds of works we've hosted.
13:13:43 Typically we,
13:13:44 we receive initial care instructions from the artist and they are
13:13:47 further refined through conversation with staff,
13:13:50 including grounds and gardens manager, me the preparer,
13:13:52 and occasionally the deputy director,
13:13:54 especially if there's an interactive component.
13:13:55 Occasionally we find to have, we find,
13:13:57 we need to have an ongoing conversation with the artist regarding care
13:14:00 during the run of the installation, which again,
13:14:02 it runs about six months.
13:14:04 In addition to collaborating with the artists regarding maintenance,
13:14:07 the curator, leading the installation, the preparer,
13:14:10 and the director of preservation landscape.
13:14:13 Work with the artists to determine where works are placed on the
13:14:16 grounds. Naturally,
13:14:17 this is done with an eye towards potential weather related risks.
13:14:20 And we are seeing increasing storm severity in,
13:14:23 in this part of the country.
13:14:24 Um, including more high wind events.
13:14:30 And this recent interactive opinion piece in the New York times
13:14:33 indicates that we should also be expecting more hurricanes and extreme
13:14:36 rainfalls in coming years in our area.
13:14:48 And just to show you a couple more examples of these are from
13:14:51 this year. Um,
13:14:52 you'll note that the sculptures that have painted wood elements are
13:14:55 lifted slightly off the ground. And that was again,
13:14:57 done a conversation with the, the artist who,
13:14:59 who fabricated the basis for those objects.
13:15:01 For the ethics in our own collections,
13:15:03 the way we monitor condition has been changing over the years.
13:15:05 Um, it began in the collections department with notebooks of annotated
13:15:08 images. Like the one I'm showing you here.
13:15:14 In collections update to condition and maintenance information is
13:15:16 recorded in the collections management database,
13:15:18 but the database isn't easily accessible to other departments.
13:15:20 And so how we communicate that information.
13:15:22 Um, internally is one of the areas that, where we could improve.
13:15:26 Um,
13:15:27 since buildings preservation team uses the software Microsoft one note
13:15:31 to record and share their condition and maintenance information.
13:15:36 I foresee that something similar could be done for outdoor objects,
13:15:38 so that condition and maintenance instruction notes could be made in
13:15:41 the field and be more easily shared among the staff.
13:15:56 And while we operate in a somewhat segregated manner,
13:15:58 we also work collaboratively when specialized tools and skills are
13:16:00 needed. For instance,
13:16:02 because members of the building preservation team are trained to
13:16:04 operate this lift, to maintain roofs.
13:16:06 They also monitor and document the condition of weather vanes.
13:16:08 And other decorative elements on those routes.
13:16:10 And depending on the work needed, as I alluded to earlier,
13:16:13 they also may be the ones providing the care.
13:16:16 Most of the maintenance does not require a conservator. For instance,
13:16:19 the lichens growing on this cast,
13:16:20 iron hitching post were brushed off using water and a nylon bristle
13:16:23 brushes.
13:16:25 The post has been in this location for several decades and the
13:16:28 weathered patent out on the metal is appreciated and has not
13:16:31 appreciably changed over the years.
13:16:32 For the trials for the troughs.
13:16:39 The grounds crew empties them of water on a regular basis and washes
13:16:42 the surfaces with water occasionally to remove any algae,
13:16:44 if it has formed.
13:16:49 You talking to the landscapes and gardens manager,
13:16:51 the processes they used have been handed down in oral tradition and
13:16:54 she's in the process of writing them down so that we can get that
13:16:56 information into the records.
13:16:57 And make changes if necessary.
13:17:01 Then there's the maintenance that needs to happen so that other areas
13:17:04 can be maintained.
13:17:08 Get the journal boxes,
13:17:08 the assemblies that allowed the wheels to turn on and the brakes and
13:17:11 the locomotive in private car.
13:17:13 Um,
13:17:14 need to function so that the cars can be pushed and pulled and stopped
13:17:17 along the tracks.
13:17:18 And so the tracks can be maintained and kept level.
13:17:20 Um, these in.
13:17:29 In practice,
13:17:30 we find that the tracks need to be leveled about every 15 years.
13:17:33 And we bring in a firm that maintains the railroad tracks in our area
13:17:36 to move the cars and do the work on the tracks. And it, it truly.
13:17:38 We are there while they're doing the work and it is amazing how gentle
13:17:42 they are employing their equipment with our artifacts.
13:17:44 We have seasonal closing processes that include draining and covering
13:17:47 the fountain.
13:17:57 And covers her also applied to the Steamboat Ticonderoga,
13:17:59 like the four deck, the whistle, the light and the walking beam,
13:18:02 which you can just see over here.
13:18:03 The sign that normally is located here is removed to indoor storage
13:18:23 for protection.Following heavy snows, the Dexter shoveled.Since loaned outdoor sculpture show will stay with us for
13:18:24 another year.Those works for moved indoors in keeping with our agreement with the
13:18:25 artist.
13:18:28 Objects that are close to paths are marked with tall stakes to ensure
13:18:34 that the plows avoid them.
13:18:44 And as I mentioned earlier,
13:18:45 because we had been looking at our landscape and the collection is
13:18:48 just laid out doors with new eyes.
13:18:49 And I seem to be seeing increasing requests for moving sculpture and
13:18:51 other objects outdoors.
13:18:53 A few years ago,
13:18:54 I worked with colleagues to draft a broad conservation management
13:18:57 tool.
13:18:57 For outdoor and working objects to achieve the following goals.
13:19:01 To clarify roles around the conservation and maintenance of those
13:19:03 collections to articulate the skills needed and to develop a
13:19:06 methodology for assessing risk.
13:19:08 To acknowledge budgetary needs.
13:19:09 And to facilitate.
13:19:10 Program assessment.
13:19:11 And to ensure that future staff members will know what we've done in
13:19:14 the past.
13:19:15 To walk this through. I'd like to share two recent projects with you.
13:19:25 While the kinds of processes could be adopted.
13:19:26 If you don't have a conservator on staff,
13:19:28 I do recommend that a conservator is included in discussions.
13:19:30 As you develop plans to care for your outdoor collections.
13:19:33 So what's this tool.
13:19:40 Uh, the first object that I'm showing you here is, um,
13:19:42 is as it looked this year, um, and, and I'm going to describe, uh,
13:19:46 the incremental process that we're following with it.
13:19:51 The cast iron Danby fountain came from the town of Danby Vermont and
13:19:54 was given to the museum in 1953.
13:19:56 It is made of multiple pieces of cast iron and has been used for
13:19:59 decades at the museum as a planter.
13:20:01 A few years ago,
13:20:02 after some work was done to raise the fountain onto a new stone
13:20:04 support, the museum director asks you to somewhat teasing manner.
13:20:07 Uh, it could be returned to use as a fountain.
13:20:09 As you see here, the fountain was once displayed. It's right there.
13:20:12 Um,
13:20:20 In front of the museum circus building.
13:20:22 And prior to it moving to its present location,
13:20:24 it had been at the South end of campus. You're the visitor entry,
13:20:26 approximately a third of a mile away.
13:20:32 Because I had never known the fountain without a garden inside of it.
13:20:35 I asked grounds to empty it of dirt so I could better assess the
13:20:37 condition.
13:20:38 As you can see, we learned that the fountain does not drain.
13:20:40 And that there was no lining between the dirt and the iron.
13:20:46 We determined that a great deal of work to the object,
13:20:48 as well as adding new water service infrastructure would need to occur
13:20:51 to have it function as a fountain.
13:21:02 I put together an incremental treatment proposal,
13:21:04 addressing what I could achieve that first year,
13:21:08 which was to clean surfaces of dirt and apply a commercially
13:21:09 available. But well-studied rust converter.
13:21:15 As part of that proposal,
13:21:17 I asked ground crew to add spacers between the bottom of the basin and
13:21:19 aligning to reduce the amount of weight that was being added to the
13:21:22 basin,
13:21:23 as well as set off the space surrounding the fountain of the stone.
13:21:25 So that they wouldn't need to trim so closely to it.
13:21:27 The lining, uh,
13:21:28 will be used to lift the planting dirt out of the basin.
13:21:30 This winter.
13:21:33 Um,
13:21:35 before actually before the winter comes and they will be covering the
13:21:37 base.
13:21:38 And so that the water and snow do not collect while the museum is
13:21:40 close to the public for the winter.
13:21:42 I hope to get the fountain painted in the coming year,
13:21:43 either by fitting it into my schedule.
13:21:45 Or the building preservation team,
13:21:47 the team schedule before it is time to replant.
13:21:49 In assessing the size of the rocks around with the gardens.
13:21:53 Uh, manager, we both felt that it should be a bit larger.
13:21:55 And so we'll be extending it in the spring.
13:22:03 So that's an example of the conservation tool as applied to an object
13:22:05 that's already in the collection.
13:22:07 Here's an example of one that is new to our collection.
13:22:13 Merissa Mirman designed metal work inspired by historical precedents,
13:22:16 including ancient Egyptian classical and Chinese forms.
13:22:19 And she's known for experimenting with color in patina.
13:22:21 Examples of her work in jewelry and precious metals can be found in
13:22:24 large museums, like the metropolitan museum of art.
13:22:25 And the museum of fine arts Boston.
13:22:27 This garden gate initially came to the museum on loan for an
13:22:29 exhibition.
13:22:30 Um, from the artist descendants.
13:22:32 And at the close of the exhibition, they gave it to Shelburne.
13:22:38 The curator was interested in putting it on his play outdoors.
13:22:41 And so we put the conservation tool in place.
13:22:54 As part of the initial loan examination,
13:22:56 we had already noted that traces of what might be the patina applied
13:22:59 by the artist and happily.
13:23:01 There was some already published information on how Zimmerman finished
13:23:03 her iron work.
13:23:04 We do have a working blacksmith shop at the museum.
13:23:06 And so we would be able to recreate the missing elements.
13:23:09 But I had a number of questions for the curator before I could propose
13:23:11 a treatment and maintenance plan for the gate. If it moved outside.
13:23:21 This question about how many other examples Murray's in Romans iron
13:23:23 work that could be found in public [unknown] collections and how much
13:23:26 and how much, um,
13:23:28 I guess.
13:23:29 Of the, um,
13:23:30 exterior surface he was interested in retaining was really at the crux
13:23:33 of the matter here.
13:23:35 Assessing the impact of deciding to place it outdoors.
13:23:41 I noted that I need to collaborate with the blacksmiths and that would
13:23:44 have an effect on their normal production.
13:23:45 I would need to slot the treatment, work into my own schedule.
13:23:52 Preservation landscape would need to prepare a site for the gate,
13:23:54 ideally with some protection from elements and visitors,
13:23:56 and we would need to secure the work.
13:23:59 And before we could get any further in the process, the curator.
13:24:10 Um, then decided that we would be,
13:24:12 and also because he wanted to get it up quickly,
13:24:13 he decided to put it on view inside. Um,
13:24:16 but the internet in this initial planning process to move it.
13:24:19 Outdoors has been documented.
13:24:20 And added to the optics record so that future staff will be able to
13:24:23 build on that discussion if necessary.
13:24:24 So with that.
13:24:25 In conclusion.
13:24:33 When thinking about caring for your outdoor objects,
13:24:35 think broadly about who is already caring for them and collaborate
13:24:38 with them.
13:24:41 Assess associated risks.
13:24:42 And when you monitor and maintain outdoor objects document and assess
13:24:45 the processes on a regular basis.
13:24:47 So that it can be adjusted improved when needed.
13:24:49 And now I'll hand it over to Kelly and Christine.
13:24:59 Thank you, Nancy.
13:25:04 Okay.
13:25:18 Okay.
13:25:24 Okay.
13:25:31 So welcome everybody. Um,
13:25:32 we're speaking to you today from Los Angeles, California and Miami,
13:25:36 Florida.
13:25:37 Which are part of the unseeded land of the tumor.
13:25:39 Chumash and Seminole tribes.
13:25:44 We are honored today to have the opportunity to acknowledge these
13:25:47 communities and pay heartfelt respects to their past present and
13:25:50 future elders.
13:25:51 So we'll be continuing the discussion regarding caring for
13:25:53 collections.
13:26:03 In outdoor environments, we just seen through Nancy's presentation,
13:26:06 how this is managed in the Northeast,
13:26:08 where there's a conservator in house.
13:26:10 And now we're going to present information on how institutions who
13:26:12 don't have in-house conservation.
13:26:14 Staff manage this as well as condition issues associated with the
13:26:17 Southern and Western agents.
13:26:18 Hmm.
13:26:24 So a little bit of background information about us. Um,
13:26:28 we are a firm based in Miami and Los Angeles and.
13:26:34 The book of our practices,
13:26:35 focused on the care and maintenance of artwork, sculpture,
13:26:38 architecture, monuments, artifacts, decorative features.
13:26:42 Um,
13:26:43 our firm was founded in 2008 by our president and chief conservative
13:26:46 Rosa Lowinger.
13:26:47 Who had previously owned a similar firm in Los Angeles and the
13:26:50 structure of our firm is that trained concert.
13:26:53 Um,
13:26:55 conservators work with a trained conservation technicians to complete
13:26:59 the work.
13:27:00 And just to give you an idea, um, this is our.
13:27:05 Team out in LA and our team here in Miami.
13:27:09 I'm speaking to you today from Miami.
13:27:15 Uh, okay. So what do we work on as a private practice?
13:27:18 We work on our wide variety of items and materials.
13:27:28 And on the side are some,
13:27:29 but not all of the materials that we work on. Um,
13:27:32 we work within the framework of requests from our clients in order to
13:27:36 meet their needs and maintain their collections.
13:27:37 So while our expertise ranges from museum quality.
13:27:40 Objects to historic structures.
13:27:50 Um, for this talk,
13:27:51 we're going to talk mostly on some more non traditional collection
13:27:54 items that are mainly located outdoors.
13:27:56 And these include integrated architectural elements,
13:27:59 such as mosaics, terrazzo, fountains, and decorative walkways.
13:28:03 Clauses or other types of flooring, light fixtures, seating, Gates,
13:28:07 weather, vanes, mausoleums gravestones. Basically,
13:28:10 if it's not a painting or a photograph or sound,
13:28:12 we tend to work on it.
13:28:13 So in addition to a wide range of materials,
13:28:15 we also provide a variety of different services and tools to our
13:28:18 clients.
13:28:19 Uh,
13:28:20 we tailor a combination of these options to fit our clients' specific
13:28:24 collection and environmental needs.
13:28:28 And we'll go into this in more detail as I go on, um,
13:28:31 specifically what this might look like in regards to non sculptural
13:28:34 collection items.
13:28:50 So, who are we doing this work for? Um,
13:28:52 this is just some broad generalizations of clients that we work with.
13:28:56 Um,
13:28:57 of course there are traditional clients like public art collections
13:29:00 and nonprofit organizations and museums. Um,
13:29:02 but we do service a wide range of clientele,
13:29:04 really any entity that has any culturally significant objects or
13:29:07 features in their collections.
13:29:09 So because of our offices, our office locations, I should say, um,
13:29:12 we deal with a variety of conditions associated with hot.
13:29:15 Sunny humid.
13:29:16 And dry environments. Um,
13:29:18 these conditions affect how we approach the treatment and also the
13:29:21 frequency of care.
13:29:22 So our weather can be extreme. We face natural disasters,
13:29:25 such as hurricanes, floods, fires, and earthquakes.
13:29:28 Uh, but also high temperatures, high winds, uh,
13:29:31 full sun on a day-to-day basis.
13:29:33 So day-to-day care as well as preparation for catastrophic events is a
13:29:37 big part of what we offer our clients.
13:29:39 Um, the majority of which do not have in-house conservation stuff.
13:29:48 Uh, we'll talk to you about not only dealing with maintenance in the
13:29:51 Southern and Western climates,
13:29:52 but also the variety of ways that we work with a range of institutions
13:29:56 all over the country.
13:29:57 And within budgetary constraints, of course.
13:29:59 Um, to care for outdoor collections.
13:30:06 Okay.
13:30:07 So what are some conditions in the South and West that may differ from
13:30:11 those in other regions? And to be clear,
13:30:13 Um, while I listed these as being particular to the thousand West,
13:30:16 many of these conditions are also applicable.
13:30:18 In other regions of the us,
13:30:20 just maybe in a different way or not with as much frequency.
13:30:31 So we'll start off with extreme heat. Um,
13:30:34 this is something that we experience both in the South and also in the
13:30:37 West. And of course in the summer, throughout the country.
13:30:39 But, um,
13:30:40 we often see large fluctuations between daytime highs and overnight
13:30:44 low temperatures.
13:30:46 And this can create extensive expansion and contraction and materials.
13:30:51 If there are materials together that had different thermal
13:30:53 coefficients of expansion,
13:30:55 meaning that one expands more than the other.
13:30:57 Um, together,
13:30:58 this can result in physical damage like cracks and spouse.
13:31:06 Also objects can become extremely hot to the touch and people may not
13:31:09 realize it before interacting with a collection items such as a bench
13:31:13 or gate or reeling.
13:31:15 And so, um,
13:31:16 sometimes we recommend employing signage about these around these
13:31:19 frequently touched surfaces during extreme heat events.
13:31:23 It can also affect how treatment's respond.
13:31:30 Um, for example, uh,
13:31:32 waxes in these high heat environments need to have a higher melting
13:31:35 point so that they can sustain longer periods of heating.
13:31:38 It also affects the treatment. Um,
13:31:41 And we may need to adjust how we treat it.
13:31:48 Um,
13:31:49 to accommodate that heat such as buffing a wax buffing wax
13:31:53 early in the morning or later in the day to make sure that we're not
13:31:56 removing.
13:31:57 Uh, softened, wax.
13:31:58 Um, and you can see sometimes like in this photo here,
13:32:01 Um, on top, sometimes we even have to work at night for a two.
13:32:04 Keep the conditions controlled as best we can.
13:32:17 Um, it can also be physically dangerous to staff or, um,
13:32:20 conservators treating the treating and maintaining the works for
13:32:23 prolonged periods and the extreme heat.
13:32:25 And I love this picture on the bottom of our staff, uh,
13:32:28 tightened umbrella to the scaffolding, to.
13:32:29 Uh, keep that direct sun off of their work.
13:32:32 Um, so sometimes we try to,
13:32:33 or we do try to schedule the work early in the mornings or
13:32:36 late in the afternoons to avoid this heat.
13:32:37 Um, particularly helpful.
13:32:50 So particularly in the Southeast Hawaii and the Pacific Northwest,
13:32:53 we experienced a year long humid and wet environments,
13:32:56 and this promotes accelerated corrosion and microbiological growth.
13:32:59 And while, like I said before, this is present in many regions.
13:33:02 Throughout the United States.
13:33:03 It's a little heightened here because of the amount of rain that we
13:33:06 get.
13:33:07 Um,
13:33:12 It can also be problematic for certain outdoor treatments,
13:33:13 such as repainting sculpture. Um, with periodic brains,
13:33:16 you can have longer cure times. Uh, this is true,
13:33:19 particularly for us here in South Florida. Um,
13:33:21 we have sort of moratorium on.
13:33:23 Um, painting outdoor sculpture.
13:33:29 During the rainy season, um,
13:33:31 because of this reason that whether it can be so unpredictable and
13:33:34 rain periodically,
13:33:35 and also just having high humidity in the air can affect the paint
13:33:39 layer.
13:33:40 Salinity again,
13:33:42 this is a condition that many coastal environments experience.
13:33:46 Um, objects within five to 10 miles of the coast or at high risk for
13:33:49 ambient salts.
13:33:50 And the closer one is to the coast, to the greater,
13:33:52 the detrimental effects of the salts. I'll see, you can see from this.
13:33:55 Map from NASA that the water of the.
13:33:59 Southern coast is higher in ambient and salinity.
13:34:03 Um, insults.
13:34:04 So.
13:34:26 This can affect the frequency of maintenance. Um,
13:34:30 for example, the, these images here,
13:34:32 this is a gate that we maintain for the city of Miami beach.
13:34:35 That is right on a pier over the water.
13:34:37 So you can see the water in the background of these photos.
13:34:40 You can see the boat going by in the background, off the pier.
13:34:43 Um, and while we're working on it,
13:34:46 we're getting sprayed with salt spray.
13:34:48 And so you can imagine how extreme that condition is for the painted
13:34:52 surface as well. And you can see in this image,
13:34:54 these white lines are actually salts that have collected on the
13:34:57 surface.
13:34:58 Um, and it also leads to a corrosion of the aluminum surface below the
13:35:02 paint layer, which bubbles to the surface.
13:35:03 Um,
13:35:05 so this gate requires more frequent maintenance than if this gate was
13:35:09 even.
13:35:10 A mile from where it is right now.
13:35:12 And we've seen this example.
13:35:19 And different, um,
13:35:20 sculptures the same sculpture on two different properties,
13:35:23 requiring different levels of care.
13:35:25 One that was right on the surface or right on the water needing to be
13:35:28 maintained once a month.
13:35:29 Well, another,
13:35:30 that was 30 feet away and separated by landscaping only needed to be
13:35:34 treated.
13:35:35 Uh, every four months. So it has a drastic difference.
13:35:38 Just simple sighting.
13:35:39 And Christina will take over.
13:35:41 Okay.
13:35:45 Okay,
13:35:46 so dry or arid environments are classified as those where moisture is
13:35:50 rapidly, rapidly evaporated from the air.
13:35:52 And there's very little precipitation.
13:35:53 This type of climate encompasses the majority of the West with some
13:35:55 exceptions in coastal and mountainous regions.
13:36:00 Uh,
13:36:01 this type of climate can adversely impact your outdoor collection and
13:36:03 that prolonged lack of humidity combined with other environmental
13:36:06 factors can lead to improved.
13:36:08 In a moment and cracking of some materials,
13:36:09 if not monitored and included as part of a routine maintenance or
13:36:12 conditioning plan, particularly wood.
13:36:20 Also without periodic reigns to naturally rinse off surfaces.
13:36:23 And if you have deferred maintenance,
13:36:25 you begin to see buildup of corrosive.
13:36:26 Accretions like bird droppings and vehicle exhaust,
13:36:28 particulates over timing.
13:36:30 Particularly it's build up and can become encrusted on the surface,
13:36:33 making them more difficult and time consuming to remove later on.
13:36:42 From a conservation standpoint,
13:36:43 you'd want to work with someone familiar with how this climate impacts
13:36:46 treatments. For example, even with basic cleaning,
13:36:48 you have to rinse more frequently as you work in sections so that the
13:36:51 surface doesn't dry out and redeposit soiling on your object.
13:36:56 Um, the same when you're applying various chemicals or cleaners,
13:36:59 we have to monitor them more closely than in other climates and
13:37:01 possibly reapply or rebut surfaces to make sure the material doesn't
13:37:05 dry out too quickly before you achieve the desired results.
13:37:07 Um, it can be especially tricky when patching or repainting,
13:37:10 because the materials tend to cure or kickoff a lot faster than in
13:37:13 other climates.
13:37:14 So we have to make accommodations for that. Like creating more humid,
13:37:17 micro climates for patches,
13:37:18 just slow the cure process and keep our repairs from cracking.
13:37:24 Uh, we've all likely seen the effects, the eventual effects of UV,
13:37:27 regardless of climate, but in the West and the South,
13:37:29 the sun can be particularly brutal.
13:37:34 These effects can be seen in a relatively short period of time,
13:37:37 especially when fabricators and manufacturers have used materials that
13:37:40 were not designed to withstand prolonged exposure to UV.
13:37:43 Or your collection items came to be in a time before the effects of UV
13:37:46 were fully understood.
13:37:49 This type of degradation presents as coatings fading,
13:37:51 or shifting color you'll get bleaching or blanching Glossier surfaces
13:37:55 will become more dollar mat.
13:37:56 Uh, it also affects certain colors, more acutely than others.
13:37:58 Like reds.
13:38:02 And this is another type of environmental condition that can lead to
13:38:05 and brittle min of coatings plastics residents,
13:38:07 as well as accelerated yellowing of these materials.
13:38:09 Um, some deterioration can be slowed down through applications of
13:38:13 sacrificial coatings.
13:38:14 Or other less reversible coatings with UV inhibitors.
13:38:16 Erecting shade structures over your object or other similar measures.
13:38:31 That being said to our knowledge,
13:38:32 there's no clear coat wax or paint that we know of.
13:38:34 That is 100% UV proof. Um,
13:38:36 there are industrial grade paint systems that are getting better
13:38:38 every year.
13:38:39 And depending on the color you need can last supposedly anywhere up to
13:38:42 20 years.
13:38:43 Um, most coatings, clearer or paint,
13:38:45 usually last around a 10 year Mark with wax coatings lasting
13:38:49 significantly.
13:38:50 A less amount of time,
13:38:51 but those higher warranties also come with a heavy price tag.
13:38:54 So again,
13:38:55 working with a con a conservation professional that knows your
13:38:57 collections materials and UV exposure.
13:39:00 You can review all of the options to see what makes the most sense for
13:39:02 your objects in budget.
13:39:03 Maybe your access is not complex and it makes more sense for your
13:39:06 budget to recoat something every 10 or so years.
13:39:11 Or maybe the cost of access or having to shut down an area of your
13:39:14 institution or property is so onerous that you might opt for a
13:39:16 slightly more expensive coding to buy you more years between more
13:39:19 in-depth treatments.
13:39:20 A Western States and parts of Florida.
13:39:24 The hardest water in the country and by water hardness,
13:39:27 we mean the amount of dissolved minerals,
13:39:28 largely calcium and magnesium in your water.
13:39:31 Um,
13:39:32 it's problematic for collection items because these minerals can etch
13:39:34 the surface of your objects. Think water spotting.
13:39:36 Um, they can form a haze on the surface or in extreme cases.
13:39:39 Like you see her on the bottom, right?
13:39:40 Thick mineral CREs forum.
13:39:44 So Eileen and corrosion runoff products can become embedded in these
13:39:46 deposits as well. Further discoloring the surface.
13:39:53 These deposits can be very difficult and time consuming to remove.
13:39:56 We'll usually see this on surfaces that are routinely hit with
13:39:59 overspray from sprinklers or lawn care staff.
13:40:01 As well as on fountains and nearby pavers or benches,
13:40:04 anything really that gets hit with over-spray.
13:40:08 Um,
13:40:09 some of the best things you can do is redirect sprinklers away from
13:40:12 collection items, or even better switch to drip irrigation.
13:40:22 For fountains periodically draining the water completely and refilling
13:40:25 can help bring down the mineral content of the water.
13:40:28 Since as the water evaporates over time,
13:40:29 it leaves the denser minerals behind in the basin.
13:40:31 So the standing water becomes increasingly mineral Laden.
13:40:34 Um,
13:40:35 and for some materials where it's not possible to avoid over spray or
13:40:38 exposure to hard water, um,
13:40:39 it may be possible to apply a sacrificial coating to help mitigate
13:40:42 deposit buildup or etching.
13:40:43 And while natural disasters can and do happen anywhere in the South.
13:40:52 Uh, anywhere in the U S actually the South and Western regions have
13:40:55 regular seasons where preparations need to be made in order to protect
13:40:58 collections. Um, mainly hurricane season and fire season.
13:41:02 Add to that.
13:41:03 Year-round vigilance for earthquakes in seismically prone areas and
13:41:06 now higher water levels. We're seeing in regular tidal flooding, like,
13:41:09 uh, with King tide in Miami.
13:41:29 There are obvious dangers of some of these events like total losses in
13:41:31 a fire where something's burnt beyond saving,
13:41:33 but there's some possibly less obvious ones as well. Um, for example,
13:41:36 if you have a fire in your region,
13:41:38 allowing Ash to dwell on surfaces can be problematic because it's
13:41:41 corrosive and can Mar or staying the surface, um,
13:41:44 with any flood event, it's not just the fact that your object is wet.
13:41:46 That's the problem.
13:41:48 It's also everything else that gets pulled into the.
13:41:49 Water's like chemicals and toxins, sewage salts, um,
13:41:53 with earthquake or wind damage events where objects may be broken into
13:41:56 several pieces.
13:41:57 We often see fragments loss in the cleanup process by well-meaning
13:41:59 people are volunteers who didn't know what to look for in the debris.
13:42:02 Um,
13:42:03 we can and have given whole presentations on this topic alone because
13:42:06 there's so much to impact,
13:42:07 but we did want to touch on it here because it's such a big part of
13:42:10 what we do and think it's really important for collection staff to be
13:42:12 actively thinking about these things and start to pull together a plan
13:42:15 for their collection.
13:42:16 Um,
13:42:17 especially with non traditional collection items where it may not be
13:42:20 clear to other departments, what is,
13:42:22 and is not considered part of the official collection.
13:42:28 Um, there are multiple resources online for developing a disaster
13:42:31 preparedness plan,
13:42:32 and we highly encourage you to at least start putting a basic one
13:42:34 together. Uh,
13:42:35 we'd also say it's important to identify other decision makers in your
13:42:39 organization who could be involved in general disaster mitigation at
13:42:42 your site, like facilities, managers, groundskeepers, et cetera.
13:42:45 You should walk through your outdoor collection items with them.
13:42:47 So it's clear what the priorities should be in terms of protection,
13:42:49 temporary relocation,
13:42:51 if warranted and salvage in a worst case scenario.
13:42:53 Um, we as conservators prepare as well by stocking up in house for
13:42:56 these seasons with triaged materials,
13:42:58 such as towels and blankets for absorbing water,
13:42:59 brushes and sponges to remove SUT labeling bags,
13:43:02 to collect fragments of damaged artworks.
13:43:03 Um,
13:43:05 and this is something that you can do in house as well as part of your
13:43:07 plan.
13:43:26 Public interaction, again, not something specific to our regions,
13:43:28 but we felt it was important to underscore,
13:43:30 especially for collection elements that are highly accessible to the
13:43:33 general public. Um, sometimes people interact with artworks, but, uh,
13:43:36 do so even more with other collection items that have more functional
13:43:39 uses, right? So Gates and doors, benches, railings,
13:43:41 and other integrated architectural elements. Um,
13:43:44 though it may seem obvious to us.
13:43:45 It's unlikely that many people would be able to immediately.
13:43:48 Identify, um,
13:43:49 or associate some collection elements as an artifact or something
13:43:51 that's considered part of your collection or they just don't care.
13:43:55 So they'll start messing with it. They'll climb on it. Sit on it,
13:43:57 especially if it's particularly Instagrammable, um,
13:44:00 what their pets relieve themselves on it.
13:44:02 So in that regard, these collection elements.
13:44:03 Can often be more susceptible to primary or collateral damage and may
13:44:06 need more frequent monitoring and or maintenance depending on their
13:44:09 location and level of public interaction.
13:44:11 Okay.
13:44:12 So now that we've discussed some of our regional climate differences,
13:44:15 we wanted to talk about the various ways in which we work with
13:44:18 collection stewards.
13:44:19 When they don't have a con a conservator on hand to assist them.
13:44:49 Balancing and understanding conservation practice is defined by the
13:44:52 type of engagement with the site or institution.
13:44:54 Because every institution has a varied collection and priorities.
13:44:56 We work with clients to develop maintenance and conservation treatment
13:44:59 plans that meet their needs.
13:45:00 Ideally the goal would be to develop a long-term partnership between
13:45:03 your institution and your conservation professional. Um,
13:45:05 obviously the longer we can work with a collection,
13:45:07 the easier it is for us to track changes over time.
13:45:10 Help determine treatment priorities as well as, um,
13:45:12 develop and tweak longterm maintenance planning.
13:45:14 And then you also get that invaluable institutional knowledge of a
13:45:17 collection.
13:45:18 Um, there are many different types of partnerships that we and other
13:45:20 private conservation firms have with collections. Um,
13:45:23 we typically work directly with curators, registrars,
13:45:26 public art consultants are dedicated public art departments. However,
13:45:29 that's not always the case.
13:45:30 Sometimes there is no dedicated arts department or person.
13:45:32 So we work directly with facilities managers, urban planners,
13:45:35 recreation, and parks departments and or maintenance personnel.
13:45:38 Um, in any scenario,
13:45:39 there's usually one dedicated staff member who works directly with us
13:45:42 to coordinate projects,
13:45:43 archive our documentation that we hand over at the end of a project.
13:45:45 Uh, work through plans for ongoing collection maintenance.
13:45:47 Um, and where possible it's usually helpful to work with the same core
13:45:50 group of people.
13:45:51 Project after project.
13:45:52 Once you've established a relationship of a conservator,
13:45:55 what should you be doing or implementing to help care for all aspects
13:45:57 of your collection? Um,
13:45:59 so we think that the first step is coming to the table and laying it
13:46:01 all out there.
13:46:02 What do we have to work with? Um,
13:46:04 once we've worked through each client's needs the level of
13:46:06 intervention they need or want from us in their budget,
13:46:08 the following are the primary tools and services that we may recommend
13:46:11 be implemented to wrap your heads around conservation treatments and
13:46:13 routine maintenance, as well as longterm collection care planning.
13:46:21 Risk management and disaster mitigation. Um, I wanted to stress again,
13:46:24 that every entity is different.
13:46:26 We rarely have the exact same arrangement or partnership among our
13:46:29 clients.
13:46:31 And while these tools and services pertained to all objects in a
13:46:33 client's collection,
13:46:35 we're going to focus on how they relate to an impact to more
13:46:37 non-traditional collection items.
13:46:41 Um, first and foremost,
13:46:43 we highly recommend collection surveys as a first step for longterm
13:46:47 maintenance, planning and budgeting disaster planning.
13:46:49 Uh, or updating an existing plan based on current conditions,
13:46:52 budget needs and priorities.
13:46:54 The survey provides you with a baseline of where your collection is
13:46:56 that currently,
13:46:57 and the level of detail included in a survey can be tailored to suit
13:47:00 each institution's needs.
13:47:15 Once you have all of this information,
13:47:16 you can then weigh your curatorial prep priorities versus the
13:47:19 conservation priorities that, uh, we recommend. Um,
13:47:22 and here you see some images from a survey we did with the arts
13:47:25 foundation for Tucson and Southern Arizona. Last year,
13:47:27 their collection includes many integrated and functional elements,
13:47:30 such as railings, uh, bus shelters, and fridges.
13:47:32 So there's a lot of overlap between various city and County
13:47:35 departments in regard to jurisdiction. And who's responsible for what,
13:47:38 with these elements.
13:47:39 So then they have to go back to those different departments and kind
13:47:42 of prioritize budgets and planning, uh, between all the constituents.
13:47:46 And while conservators can do entire surveys in house,
13:47:49 it's also possible to do a hybrid of serving between registrars and
13:47:52 conservators. If there are budgetary constraints, um,
13:47:55 we've had such an arrangement between a major County arts commission
13:47:57 where they're on staff. Registrar went out too.
13:47:59 Um, hundreds of buildings that the County owns,
13:48:01 indocumented all of their artworks there with photographs and brief
13:48:03 condition reports.
13:48:04 And we reviewed each of those reports and flagged any of that seem
13:48:07 like they may warrant more in-depth assessment by a conservator.
13:48:09 At which point we then went out ourselves to look at a much more
13:48:11 focused group of collection items for them.
13:48:13 And this is a, another example of a collection survey that we've done.
13:48:17 This is for the Flagler museum in Palm beach.
13:48:25 The similar sort of idea,
13:48:26 but it's a different type because it's for architectural elements,
13:48:30 um, on a, on a specific building site. Um,
13:48:33 so we looked at a wide range of elements, including windows railings,
13:48:36 decorative features such as benches, earns and fountains.
13:48:39 Um, as well as exterior flooring and the Portico ceiling.
13:48:42 This report provided an overall look at the collection of it.
13:48:45 Prioritized needs.
13:48:48 And provided cost for treatment and maintenance and it gave them a
13:48:51 look at what their treatment goals for the building and maintenance
13:48:55 goals for the building and site overall would be in the future.
13:49:02 It also allowed us to catch a potential problem with the Portico
13:49:05 ceiling and prioritize its treatment.
13:49:07 So we could immediately mobilize into fixing the needs of the Portico
13:49:11 ceiling because.
13:49:12 It had been identified as the highest priority. And, um,
13:49:16 we're able to take care of it.
13:49:21 And, um,
13:49:22 it provides the report as a whole provides a document,
13:49:26 which they could use, um,
13:49:27 to prepare for future treatments as well as maintenance planning.
13:49:31 So regular maintenance plans is something that we do a lot with our
13:49:34 clients. Um, it's crucial.
13:49:36 Uh, typically following a survey or sometimes, um,
13:49:39 it's more of a less foremost survey.
13:49:41 We typically recommend that the artworks should be maintained. Um,
13:49:45 And then to what frequency they need to be maintained,
13:49:47 whether that's annually, biannually.
13:49:48 Annually. Um,
13:49:54 And make recommendations for what should be done by conservation
13:49:56 professionals and what can be done in house.
13:50:05 Um, so we provide recommendations in house training if desired or
13:50:09 necessary, and sometimes maintenance manuals in kits are provided to,
13:50:13 to help.
13:50:16 Um, for the time in between when we can be there for our maintenance.
13:50:19 So this is an example of one of our clients at the C****r museum of
13:50:23 art and gardens in Jacksonville, Florida.
13:50:25 We maintain their collection annually rotating collection items in and
13:50:29 out, depending on their need.
13:50:30 So pieces like the fountains typically needs to be worked on annually
13:50:34 due to the hard water in Jacksonville.
13:50:36 Um, and while some of the other items can be done less frequency
13:50:39 frequently.
13:50:41 Um,
13:50:42 And.
13:51:01 This ties into our recommendations for monitoring.
13:51:03 So having a Reckie regular maintenance plan allows for regular
13:51:07 monitoring of the collection,
13:51:08 both by the conservators and by in-house staff.
13:51:10 So we have a regular photographic record of the pieces over time and
13:51:14 can identify changes in the condition.
13:51:16 So this is a good example of one sculpture at the comer.
13:51:19 Um, it's, uh, Janet Scutter, it's a fountain.
13:51:21 And you can see it was, um, severely.
13:51:23 Uh,
13:51:24 The surface was deteriorated. The patina.
13:51:27 And so we treated this originally at our studio and then it was
13:51:30 installed.
13:51:31 In place.
13:51:32 And these subsequent photos are each year after its initial treatment.
13:51:36 And so you can see how regular maintenance.
13:51:38 Is, uh, continuing to keep the peace in good condition over the years.
13:51:41 Uh, in some cases we also provide a condition or maintenance forms to
13:51:45 staff. If they are the ones providing the care.
13:51:47 Um,
13:51:49 and this allows the in-house staff to be aware of any changes that
13:51:52 have occurred.
13:51:56 And also working with the staff on a regular basis,
13:51:59 allows them to be more aware of what's happening to their collections.
13:52:02 So for example, this, uh,
13:52:04 Lion. I think it is.
13:52:08 Um, on a bench, uh,
13:52:10 was damaged I think by one of their guests and the nose fell off and
13:52:13 the collection staff was able to immediately.
13:52:16 Um,
13:52:17 collect all of the pieces and we were able to restore that for them
13:52:20 during one of our maintenance.
13:52:24 Um, and it also lets, you know,
13:52:26 if there's anything out of the ordinary you should be looking for. Um,
13:52:28 so for example, this sculpture is not at the comer,
13:52:31 but this was hit by.
13:52:33 Um, lawn care equipment.
13:52:34 And so the collection staff was able to identify that that was not
13:52:38 there previously through, um, photographic records.
13:53:03 Um, and I just wanted to say a quick bit about this client of ours.
13:53:05 We have a contract for on-call maintenance and treatment services with
13:53:08 them and have for many years. Um,
13:53:10 but they also handle a lot of routine maintenance and monitoring in
13:53:12 house. Um,
13:53:13 the arts program staff walk their entire collection at least once
13:53:16 a week to check on all of their collection pieces since pre COVID is
13:53:19 such a high traffic area there right next to the Bay and are exposed
13:53:22 to the exhaust from the jet fuels from the planes.
13:53:24 Planes and all the cars coming through. Um,
13:53:26 they have a lot of integrated pieces,
13:53:28 like an elevator that is an artwork, um, decorative pavement seating.
13:53:41 Uh,
13:53:42 and elements throughout their parking structures and the stuff we'll
13:53:45 do some light cleaning themselves if it's accessible,
13:53:47 but they also work with and supervise their contract custodial team
13:53:50 with some light routine dusting of select larger scale items. Um,
13:53:53 and before they let them touch anything,
13:53:54 they'll have us review their work plan,
13:53:56 make recommendations on what they should or should not do and should
13:53:59 or should not use on select artworks. And so the whole arrangements,
13:54:01 a lot more cost effective for them.
13:54:03 And if we say that only a conservation team should treat or clean a
13:54:05 collection element, they're 100%.
13:54:07 On board with our recommendations.
13:54:08 Uh, and while we,
13:54:09 as conservators would love to do all of the things for you,
13:54:12 we understand, uh,
13:54:13 as we've been saying this whole time that it's not necessarily
13:54:15 realistic in most cases,
13:54:16 Um, so oftentimes in a survey or in discussion with a client,
13:54:19 we'll make recommendations for what should be done.
13:54:21 Uh,
13:54:22 strictly by conservation professionals and maybe things that can be
13:54:25 done in house, just like at the airport, in the calmer.
13:54:27 Um,
13:54:28 for a few clients we've provided hands-on training and left them with
13:54:31 maintenance manuals and kids.
13:54:32 Supplies.
13:54:33 This is particularly useful for those with the limited maintenance
13:54:36 budget, or if you're located any conservation desert,
13:54:39 where there are not many conservators nearby,
13:54:41 since it can be cost prohibitive to have us come out with the
13:54:44 frequency that some collections require.
13:54:45 Um, we've done this with museums and Florida.
13:54:47 Public art commissions.
13:54:51 And most recently with the Hawaii state foundation on culture and the
13:54:54 arts,
13:54:55 where they directly hire local technicians to do routine maintenance,
13:54:59 cleaning, and waxing bronze surfaces,
13:55:00 and a part of their condition of hire mitten is having gone through
13:55:03 our training program.
13:55:08 Um,
13:55:09 sometimes our clients will piggyback on one another's treatments to
13:55:12 help reduce travel costs. This is particularly true in Hawaii,
13:55:15 where if one institution asks us to come out,
13:55:16 we'll often reach out to a few others we've worked with in the past to
13:55:19 see if they need anything or want us to come by and look at any, um,
13:55:21 elements.
13:55:22 While we're out there and we'll split some of the travel costs among a
13:55:25 few institutions.
13:55:42 Um, providing siting recommendations is something we usually do in
13:55:45 conjunction with the survey or survey update we'll comment on siting
13:55:48 and make recommendations to improve setting conditions or advocate for
13:55:50 relocation. In some instances, if it's that, if that's viable, um,
13:55:54 oftentimes sighting conditions can change the frequency or methodology
13:55:57 for maintenance. Um, you know, things we've discussed before,
13:56:00 like redirecting,
13:56:01 watering and limiting it accessibility to the general public cutting
13:56:04 back over hanging tree.
13:56:05 Branches that can drop plants.
13:56:06 Debris can fall in damage an element or invite birds, uh,
13:56:10 to hang out over top,
13:56:11 which leads to more droppings and standing on your collection element.
13:56:13 Um,
13:56:14 signage and physical barriers can be employed even for non traditional
13:56:17 collection elements as well,
13:56:18 and may help the public better understand that certain elements are
13:56:22 part of your institution's collection and should be treated
13:56:24 accordingly.
13:56:25 So.
13:56:26 Things always start with an assessment or a survey,
13:56:29 and then it's determined.
13:56:31 Whether or not a complete conservation treatment or maintenance is
13:56:34 needed.
13:56:35 And so sometimes a complete conservation is treatment is needed after
13:56:38 a baseline survey.
13:56:39 And this is one of those cases for us. This is, um,
13:56:42 Seven South Florida animal themed terrazzo plazas that are in the
13:56:46 village of key Biscayne. There.
13:56:47 Designed by artists. Hosey.
13:56:51 [unknown] and, uh, we did an initial baseline survey for them,
13:56:55 and it was determined that, um,
13:56:57 not only was their surface conditions like fading.
13:57:13 And biological growth,
13:57:14 but there was also some dill lamination of the surface that needed to
13:57:16 be addressed.
13:57:35 And so we went straight from a baseline survey into conservation
13:57:38 treatment.
13:58:07 Um,
13:58:09 but one of the things that we realized is that a lot of this was due
13:58:13 to deferred maintenance of the surface coatings.
13:58:16 They had lost all of their surface coatings,
13:58:17 which had caused the overall feeding in loss of definition.
13:58:20 Um, particularly to the blue and black colors.
13:58:22 And because they all had different sighting,
13:58:24 they'll sort of responded differently. Um, for example,
13:58:27 this is the Pelican Plaza, the blue one.
13:58:29 Um, which you can see as severely faded.
13:58:31 This is the before photo and this is the after photo. Um,
13:58:34 whereas the dragon flight Plaza, because it was under shade trees.
13:58:37 Um,
13:58:38 had less fading and more biological growth because it was a staid damp
13:58:43 for longer.
13:58:44 And wasn't able to fully dry out.
13:58:46 So, um, these are some of the things and now, uh,
13:58:49 to consider because now the conservation treatment has been done.
13:58:52 If regular maintenance is, is completed, um,
13:58:55 then these can.
13:58:56 Continue to stay in good condition.
13:58:58 And some of it is having a conversation with staff as well.
13:59:01 The way that they were cleaning the.
13:59:03 Plazas were actually was actually removing the protective coatings.
13:59:07 And so having a conversation about the appropriate way to clean and
13:59:10 maintenance moving forward.
13:59:11 Um, has allowed them to maintain these, uh, plazas in house.
13:59:14 Okay. And we wanted to show this site, um,
13:59:16 as an example of a client congregation that was working closely with a
13:59:19 preservation architect and general contractor for rehabilitation of an
13:59:21 entire historic structure.
13:59:23 Um, they in the preservation architect brought onboard conservators to
13:59:26 identify surfaces and objects that required specialized care,
13:59:29 historic elements that could not,
13:59:30 and should not be treated by a general contractor. So in this case,
13:59:33 um, there was a conservator on the project team who wrote the
13:59:36 specifications,
13:59:37 and then we performed the work based on those specifications and with
13:59:39 their oversight.
13:59:41 Um, so planning for, um, you know,
13:59:43 large construction projects or special events. Um,
13:59:46 this is another way conservators work with an assist our clients,
13:59:48 and it can include anything that's under your purview. Uh,
13:59:50 object wise, um,
13:59:51 this typically relates to construction such as restoration general
13:59:55 repairs around a property improvements or expansion or additions.
13:59:58 Um, if a collection item is part of your construction project,
14:00:00 meaning it will be actively worked on.
14:00:01 We can provide assessments and recommendations for specific collection
14:00:04 elements that can be treated by conservators or by others using our
14:00:07 specifications and possibly with conservator oversight.
14:00:09 Um, depending on the scope and breadth of a project,
14:00:11 we can also help determine whether or not an element should be D
14:00:14 installed or moved, uh,
14:00:15 or protected in place and what would be the best way to do so.
14:00:18 This particular service doesn't necessarily.
14:00:20 Um,
14:00:21 Am I still in this.
14:00:22 Yeah.
14:00:23 Okay.
14:00:24 Cause it says I've been signed out because your account is signed in
14:00:27 from another device.
14:00:35 Um, okay, sorry.
14:00:36 So this particular service doesn't necessarily have to be related to
14:00:39 construction. Um,
14:00:40 many institutions we work with allow film or photo shoots on site or
14:00:44 hosts, large events like weddings or fundraisers. Um,
14:00:46 I'll wear a lot of equipment is brought in and these vendors and
14:00:48 guests are not necessarily looking around worrying about whether or
14:00:51 not a railing or flooring as part of your collection.
14:00:53 Um, we've been consulted on everything from the use of fog machines by
14:00:56 integratable glow in the dark powder,
14:00:58 liquid silicone that looks like water fountain dies.
14:01:00 And the photo on the bottom left,
14:01:01 you can see some darker diagonal stripes on this historic tile flowing
14:01:04 from where film crews taped down, wires and lifted.
14:01:16 Of residue and on the right is a swimming pool at a hotel in LA that
14:01:18 was painted by David Hockney in the 80s.
14:01:20 And in addition to getting beat up by Poole chemicals and the guests,
14:01:23 um,
14:01:24 they host an Oscar party every year where they dropped decking into
14:01:27 the pool to give them more floor space.
14:01:29 So after we repainted the crescents,
14:01:30 we provided recommendations on how to pad the decking to help mitigate
14:01:33 scratching the artwork.
14:01:34 And if we're not doing the work ourselves,
14:01:36 our role in construction monitoring and conservation oversight can
14:01:38 range in scope and scale. Um, however,
14:01:40 regardless of the size of the project,
14:01:41 if it's a true constant construction site,
14:01:43 we typically follow a similar format in terms of scope of work.
14:01:46 Um,
14:01:47 first we'll perform documentation and undertake testing and sampling
14:01:50 provide detailed specifications for carrying out treatments. Um,
14:01:53 and once the contractor is selected, there's usually a mock-up phase,
14:01:55 which we highly recommend.
14:01:56 We'll review their work, uh,
14:01:58 and provide feedback and or approval of mock-ups.
14:02:00 And then depending on the project needs will perform periodic quality
14:02:02 control.
14:02:03 Uh,
14:02:05 site visits to ensure that the collection resources are protected and
14:02:07 work is being carried out correctly. And finally, at the end,
14:02:10 we'll go through and create a punch list for close out items.
14:02:12 Uh,
14:02:13 what you're looking at here is a very large golden glass tile mosaic
14:02:15 feature at, uh, the new Academy museum of motion pictures in LA.
14:02:21 So our team did the initial testing, sounding, sourcing,
14:02:23 replacement tiles, identifying cracks,
14:02:25 and then all of the construction monitoring and quality control
14:02:27 through to a project completion.
14:02:29 Okay. So another example of this is the,
14:02:31 is the sky museum and gardens.
14:02:38 Um, we've done a variety of various projects for them, including, uh,
14:02:42 several different construction oversight.
14:02:44 Jobs.
14:02:47 And we're currently doing one for them right now,
14:02:49 as they are undergoing a complete re roofing of the main building.
14:02:56 Um, and we worked,
14:02:58 we started by working with the architect on specifications and to make
14:03:01 sure that they were appropriate for.
14:03:03 A historic structure, but also the surrounding historic elements.
14:03:16 And from there, we, uh,
14:03:17 provided an assessment of the historic features that could possibly be
14:03:20 impacted by the roofing project.
14:03:22 And you can see some of that here in these two pictures on the right
14:03:26 side, um, assessing what sort of damage.
14:03:28 Was already present, but then also, um,
14:03:31 how things are currently being impacted by the roofing elements and
14:03:34 the condition there.
14:03:35 Current baseline conditions so that the.
14:03:37 Both the entity and the contractor could know what their,
14:03:42 um,
14:03:43 What their work was doing to impact those features.
14:03:49 Uh,
14:03:51 we also make recommendations for their care and protection so that,
14:03:54 um, they can be protected during the construction.
14:04:01 And we attend weekly meetings to assess the resources and opine on
14:04:04 their treatment related to the construction.
14:04:06 And so we will look at mock-ups, um, for example, this is.
14:04:09 Some mock-up for the staining on the, um,
14:04:12 Ruth on the underside of the ceiling.
14:04:16 And you can see, um,
14:04:17 this is their mock-up and this is the original material. So we, um,
14:04:20 sign off on any of the treatment.
14:04:23 That they are doing that would affect any of the historic resources.
14:04:32 Um, disaster cleaning,
14:04:33 as Christina mentioned earlier is a big part of our lives,
14:04:36 unfortunately, or fortunately, however you want to look at it.
14:04:39 Um,
14:04:48 But, uh,
14:04:49 the survey again is a great tool to help start pulling together your
14:04:52 disaster plan,
14:04:53 because it provides a baseline for what your,
14:04:56 what state your collection is in. Should anything happen to it?
14:05:00 Um, and it, uh,
14:05:01 survey highlights the priority pieces and the safety concerns and any
14:05:04 citing concerns that you'd want to take into account.
14:05:07 The conservator can work with you to pull together a plan based on the
14:05:10 size of your organization and your resources and help identify at risk
14:05:13 elements in your collection.
14:05:15 As well as what your curatorial priorities and what items you should
14:05:18 have in your emergency kit.
14:05:19 Um,
14:05:20 Another step is to determine if there are any collection items that.
14:05:34 Um,
14:05:34 anything you can do for your collection items before a disaster hits.
14:05:38 So for example, um, this lantern here, uh,
14:05:42 this is a project that we took on again for Vizcaya.
14:05:44 And what they wanted us to do.
14:05:46 In addition to treating the surface of it was to come up with a plan
14:05:49 for how it could be, um, easily.
14:05:52 D installed and then, um,
14:05:54 have crates belts so that they could, if a storm was coming that.
14:05:58 In-house staff could remove the lanterns.
14:06:00 And put them in the crates for storage so that they wouldn't need a
14:06:03 conservator.
14:06:04 Or.
14:06:05 Art handlers to come out at last minute to move something like that.
14:06:12 Similarly for preparations. Um,
14:06:15 this is a sculpture at the university of Miami.
14:06:17 Um, that is particularly, uh, susceptible to wind damage.
14:06:34 And what they've done here is they had us put in eye hooks into the
14:06:38 concrete pad so that we could strap the sculpture and keep it secure
14:06:43 during any high wind events. And, um, this has actually been tested.
14:06:47 Uh,
14:06:48 by a previous hurricane and actually worked really well for securing
14:06:52 that particular sculpture.
14:06:53 Another really basic thing that you can do just, um,
14:06:56 Cut back plants that could impact sculptures.
14:06:59 So if you have any tree branches that are, um,
14:07:02 On top of your sculpture or your gate or.
14:07:09 Any item in your collection, that could,
14:07:11 is a potential risk for falling during a storm.
14:07:14 And if you just simply cut that back before a storm hits, then it's.
14:07:18 Less of a chance that it will impact your collection.
14:07:20 Um,
14:07:22 another thing that we do is prefabrication conservation reviews for
14:07:25 new commissions.
14:07:37 We work with artists and the clients. You review proposed materials,
14:07:40 installation, methodologies, citing long-term care and maintenance,
14:07:44 um, to give new elements incorporated into your collection,
14:07:46 the best start possible. So prolong their service life.
14:07:51 Um, and this is not just for sculpture.
14:07:55 Uh, it can be for other visual improvements,
14:07:57 like integrated architectural elements, mosaics Trezza flooring.
14:08:00 I know we've done like bike lock, uh, stations and things like that.
14:08:04 Um, and we can also do this for, uh, object donations as well,
14:08:07 because.
14:08:08 Um, sometimes it's helpful to know, um,
14:08:11 what level of maintenance and care.
14:08:13 You're going to need for a particular object before it comes into your
14:08:15 collection.
14:08:18 So maintenance is key to caring for any collections,
14:08:21 whether sculpture or untraditional collection items more often than
14:08:24 natural disasters or other one-time damages.
14:08:28 The treatments that we need to carry out,
14:08:29 come from deferred maintenance.
14:08:34 Non-traditional or sorry, non sculptural items like flooring,
14:08:38 Gates, and benches tend to receive less attention than more prominent
14:08:41 collection items.
14:08:42 So they require the same level of care or more in many cases.
14:08:45 As these items are frequently used by the visitors to the sites.
14:08:48 And thank you. I'll turn it back over to Robin.
14:08:51 Thanks guys.
14:08:52 You can go ahead and stop sharing your screen.
14:08:54 Sorry, I'm trying. Perfect.
14:08:55 No, that's fine.
14:08:56 Take your time.
14:08:57 Like, it's not a big deal.
14:09:09 Um, two things that popped into my head. Just listening to you guys,
14:09:11 as we enter into our Q and a period is kind of the importance of
14:09:15 outdoor collections. Now, what was so many facilities being shut down?
14:09:20 Um, or not allowing reduced access, I guess it's nice.
14:09:24 I think a focus on outdoor collections is really nice right now
14:09:27 because you know, that's what people are able to access.
14:09:29 Um, when it comes to institutions,
14:09:38 The other thing too,
14:09:39 is I love the idea of partnering with registrars like me,
14:09:42 and basically saying, Hey, go out and do a condition report. First,
14:09:45 identify maybe the problem areas and then work with you guys as
14:09:48 conservators to really.
14:09:50 You know,
14:09:51 handle those issues because like a lot of us have this book sitting on
14:09:54 our bookshelf.
14:09:55 There is a C to C Webb at CDC care webinar about basic conditioning
14:09:59 that you can go take a look at.
14:10:00 Um, so that's like a good place to start and then we can identify the
14:10:04 problem areas and then we can approach you guys with,
14:10:05 so I really like that.
14:10:06 Partnership idea for sure.
14:10:13 Um, so we have quite a few questions coming in.
14:10:15 So we'll start taking a look. Um,
14:10:16 one of the early ones that came in was someone saying we have a lot of
14:10:19 farm equipment pre 1940s, some wood, mostly iron,
14:10:23 some sheet metal.
14:10:25 And we were thinking to put them outdoors.
14:10:26 What would you suggest they're located in North Dakota? No,
14:10:28 I think my first question would be where are they stored right now?
14:10:30 Before.
14:10:32 Before I start talking about going outdoors, right?
14:10:34 I'll let you guys, I have a bunch of other questions too, is, um,
14:10:37 W w how, how are you planning to, like,
14:10:40 what is the story you're trying to tell around it?
14:10:46 Are these things that somebody's going to want to demonstrate on
14:10:50 occasion are, you know, are you going to, you know,
14:10:53 how close are you going to allow visitors to come?
14:10:55 Or are they just sort of static sculptures that just happened to have
14:10:58 one, you know,
14:10:59 They used to be farm equipment,
14:11:00 but now in our institution effectively,
14:11:03 they become a static sculpture. Um,
14:12:04 For me for farm equipment.
14:12:05 I look at some of the painted surfaces on them,
14:12:08 and I think that they're,
14:12:09 they're not intended to be left outside if you,
14:12:12 if you want to keep them looking nice.
14:12:14 Um,
14:12:15 Similar to our locomotive.
14:12:16 You know, the decals and the paint work.
14:12:19 Um, they became eroded even despite the fact that the locomotive is
14:12:22 undercover. Um,
14:12:24 So we repainted them and we were able to get, um,
14:12:28 Actual decals, but then we made, um,
14:12:30 graphic rep, uh, stencils.
14:12:32 From them and then repaint it so that I think you need to think of it.
14:12:36 So, in addition to where are they stored now?
14:12:38 You know, how, how much time do you have to devote to their care? Um,
14:12:42 and what kind of appearance do you want them to have an.
14:12:45 And are they going to be static or functional? I think those are,
14:12:47 those are the questions I have.
14:12:48 And I'm sorry to be not giving you an answer with that's concrete,
14:12:52 but.
14:12:54 Unfortunately, there's so many variables that go into it that, um,
14:12:57 and I'm sure, um,
14:12:58 Kelly and Christina have other questions that they would ask,
14:13:01 ask as well. Um,
14:13:02 You know, it's hard to give an answer based on,
14:13:04 on just it's farm equipment. And we want to put it outside.
14:13:07 Yeah, I think, I think, um,
14:13:08 I would echo a little bit of Nancy's answer there as well. Just,
14:13:11 I mean,
14:13:12 We get asked that question all the time for various different objects.
14:13:16 And I mean, yes, things can, that can go outside,
14:13:19 but it is what level of care you're willing to have for it.
14:13:22 Um, you know, so your surfaces need to be well-maintained.
14:13:26 Um, and it needs to be cited appropriately.
14:13:28 And so there's a lot of considerations that go with it. Um,
14:13:32 You know, frustratingly,
14:13:33 I always sort of joke that a conservator's response is always, well,
14:13:35 it depends.
14:13:37 Um, because there's a lot of things you have to consider, um,
14:13:39 about the situation as a whole.
14:13:40 Yeah, it looks like he answered back with,
14:13:42 they have indoor snowplows tractors, corn shelters,
14:13:44 and mostly horse-drawn equipment, no page or decals, but yeah,
14:13:47 it is hard.
14:13:48 You know, um,
14:13:49 and most of this stuff has been outside most of their lives,
14:13:51 which is like, okay, that's good.
14:13:53 It's like,
14:13:54 you're not moving it from an indoor situation to an outdoors.
14:13:57 That's a slight bumps up, at least in my book.
14:13:58 Yeah.
14:14:00 Hey, let's see what else we have on here.
14:14:01 There were a lot of questions about bird poop and I'll.
14:14:04 You need to handle bird poop.
14:14:05 And, uh, this one in particular, it was,
14:14:08 we have an outdoor fabric wrapped graphic and some exhibit structures,
14:14:11 which you get affected by birds.
14:14:12 We are continuously looking for something for this,
14:14:14 not wanting to hurt the graphics or the structures. So I guess,
14:14:17 can anyone wax poetic on the treatment of bird poop for a while?
14:14:19 Just to kind of.
14:14:21 What your advice would be.
14:14:22 Um, Christina,
14:14:23 did you want to say something to you looked like you wanted to say
14:14:25 something, but if not, I'll answer.
14:14:28 Yeah. I mean, I'll just, I mean, we tried so many different things.
14:14:31 It's, it's problematic. Like I think I mentioned about, you know,
14:14:34 if you have anything directly overhead that they can perch on,
14:14:37 but also, you know,
14:14:38 if that object is the only thing around for an expanse than they just
14:14:42 want to sit all over it.
14:14:43 We've tried, um, on some flat surfaces, uh, you know,
14:14:46 like a plastic reflec reflective mirror with, um,
14:14:49 with some wax outside, just sticking it down,
14:14:51 not something that's permanent. And if you can't see it,
14:14:54 Um, you know, uh,
14:15:01 As, as part of the viewing experience, um,
14:15:03 for some reason they don't like that when they're trying to come down
14:15:06 and perch on something,
14:15:07 they get scared by their own reflection and it makes them more apt to
14:15:09 kind of disperse and go somewhere else. Um,
14:15:12 it's kind of a similar idea to hanging.
14:15:14 Uh, kind of twisty,
14:15:15 reflective things in tree branches and kind of stakes around, um,
14:15:18 objects.
14:15:19 Uh, aside from that though.
14:15:21 Someone else.
14:15:22 Uh, somewhere else.
14:15:23 I know that they've put like rubber snakes in fountains and try and
14:15:26 move them around to try and help, you know, deter them, uh,
14:15:29 as a predator.
14:15:30 Um,
14:15:31 I don't know how effective that is longterm,
14:15:33 but I think like your best defense is to just get out there as soon as
14:15:35 possible to get it off.
14:15:42 Yeah, I would think as a dried out,
14:15:43 it would be more problematic and it's hard, you know what I mean?
14:15:46 I get it, you know, like I, again, I live in Florida too,
14:15:48 and a lot of stuff is outside. And so, you know,
14:15:50 you come back to your car and you're like, well, that's good.
14:15:52 The light, you know what I mean? After a chunk of time. So.
14:15:53 It kind of dry. You want to make sure not to rub it into the surface.
14:15:57 Yeah.
14:15:58 It's probably a good idea.
14:15:59 Um, someone had, this is an early one that says,
14:16:01 apologies if you will cover this,
14:16:03 but how often are conditioned reports done?
14:16:19 Is it on a regular schedule?
14:16:20 Who's responsible for making sure they get done. I mean,
14:16:22 I think we kind of talked about that at different points, but I,
14:16:24 at least for places that I've worked with as the registrar level,
14:16:27 it's on a cycle, right? So you go out, you know, yearly or whatever,
14:16:30 and kind of take a look and see what's going on with the outdoor
14:16:32 stuff. But what would you guys suggest for, uh,
14:16:35 doing condition reporting?
14:16:36 So for a lot of our clients sort of depends on the frequency of care.
14:16:40 Um, for the collection.
14:16:41 So in the example that I used with the C****r museum,
14:16:43 we go once a year and we walked the entire collection and look at
14:16:47 everything and take photos and note anything that.
14:16:49 Is not how it should be.
14:16:56 Um,
14:16:57 but we have private clients who we do that four times a year.
14:17:01 So it really just depends on, um,
14:17:03 the frequency of care, I would say at least once a year. Um,
14:17:07 and you know, more, if you can.
14:17:12 Yeah. And for us,
14:17:13 I will say that as far as formal condition reports go, um,
14:17:17 I think it's been changing recently. Um,
14:17:19 I was having sort of the full gamut when I had an intern who was able
14:17:24 to.
14:17:27 To get out there.
14:17:28 So maybe every other year I send them out with a camera and, and,
14:17:32 and do it. And now it's more like I'm doing regular walks.
14:17:35 And when I notice something has changed that I'm making an update to
14:17:37 the condition report, that's in the collections management database.
14:17:40 Um, so it's, it's a, it's a slight change in how we're operating.
14:17:44 Um, but being as I would imagine that at the C****r museum,
14:17:47 Even though they're conservators and that's a fantastic.
14:17:50 Thing that that you're able to do there is to go through with the
14:17:52 conservator yearly and really focused on the outdoor objects. Um,
14:17:56 You know, our staff is out there monitoring all the time or, you know,
14:17:59 daily out there.
14:18:00 Um, but as far as a formal condition report, that's,
14:18:02 that's what happens.
14:18:04 Not as perhaps as frequently.
14:18:11 Um, as it would have been, if we didn't have kind of that ongoing,
14:18:15 um, condition reporting, um, software available to us.
14:18:20 It's also, you know,
14:18:21 like I know when I first started way back in the middle owes,
14:18:24 you would write these plans.
14:18:25 Like I call them aspirational inventories where you were like
14:18:26 every year.
14:18:28 I'm going to do an inventory of our entire collection.
14:18:30 It like pretty soon into it. You're like this not gonna happen.
14:18:36 Like just life gets in the way.
14:18:38 So I think it's kind of what you're saying, like different levels of,
14:18:41 of doing the condition reports. And when I, you know,
14:18:43 I've done everything from just.
14:18:44 What you were saying,
14:18:45 Nancy walking around and kind of like being like,
14:18:47 everything looks cool to, you know,
14:18:49 no we're going to do a full out true.
14:19:01 Condition report on this particular collection,
14:19:03 because either we have the time or we have a really good,
14:19:06 we have enough staff. I mean, any of those reasons would be,
14:19:09 or we want it.
14:19:10 Someone wants to do an exhibit based on those things will often drive
14:19:12 condition, reporting your inventory. So, yeah,
14:19:14 I think you do the best you can when it comes to those. For sure.
14:19:17 Um, this is kind of a big question.
14:19:18 Have you seen any changes in rate or damage or types of damage to
14:19:21 artifacts due to climate change? If so, how are you dealing with it?
14:19:24 So.
14:19:26 In the past, you know, in your span of your career,
14:19:28 have you seen a difference on what this happened outside?
14:19:31 Well, as I mentioned earlier,
14:19:32 we are seeing increasing wind events and, um, harder rainfall.
14:19:36 And I think that has, that has, uh,
14:19:38 Let us to move some things. Um,
14:19:44 That, you know, I could have also with the outdoor sculpture,
14:19:47 lone shows, we end up with certain sightings and then, um, in,
14:19:51 as we see.
14:19:52 Um, weather patterns.
14:20:00 Playing out through the year. We have,
14:20:02 unfortunately had to move some objects either, um,
14:20:04 around to a different part of the grounds where they won't get, um,
14:20:07 that kind of impact from the weather. Um,
14:20:10 So that, that.
14:20:11 That's sort of anecdotal, but I'm interested with killing Christina.
14:20:14 I have to say, given their location and experience.
14:20:23 Um, yeah, I mean, just the extreme weather in general,
14:20:27 uh, has been increasing. I know, uh,
14:20:29 particularly here in South Florida and the fires in California.
14:20:32 Um, which Christina can talk more about, but, um,
14:20:35 even just on a day to day basis, I feel like the rainy season.
14:20:39 Goes a little longer than.
14:20:40 The hurricane season goes a little longer.
14:20:42 Um,
14:20:43 You know,
14:20:46 Robin. And I were talking before the start of this. I mean,
14:20:49 the weather's just been dreadful all week.
14:20:51 Um,
14:20:52 and my technicians are out doing a maintenance where in maintenance
14:20:55 season right now.
14:20:58 Um, and we're talking about how they were getting salt spray on the
14:21:02 sculpture and, you know,
14:21:06 Because the winds are so high, you know, the,
14:21:07 the rain stopped long enough for them to do the maintenance.
14:21:09 And then the winds were blowing.
14:21:11 Salt spray into it. So, you know, things like that,
14:21:13 I think just as the weather gets more extreme,
14:21:16 Um, the care of everything that's outside just takes more work.
14:21:20 I don't know if Christina has anything from LA.
14:21:23 Yeah, no, I think you're.
14:21:25 It's the same thing. Just different.
14:21:26 Um,
14:21:42 Uh, different factors are talking about, right?
14:21:45 So the fire season is longer and there's multiples. And, uh,
14:21:48 it seems to be every year now that we're kind of bracing for it. And,
14:21:51 you know, um,
14:21:52 I've only been in Los Angeles about eight and a half years, but.
14:21:54 From my understanding of people who have lived there longer than I
14:21:56 have. They used to have a rainy season in the winter.
14:21:59 Like every year it was.
14:22:00 Uh, something that would happen and now it's very hit or miss. Uh,
14:22:03 when I moved there,
14:22:04 it was just getting into that really nasty drought in California. So,
14:22:06 um,
14:22:08 Yeah, it's just.
14:22:15 It's just all over the place. And we have clients too, you know,
14:22:17 in the Midwest that, you know, talk about BYOD swings, you know,
14:22:20 they get feet of snow and Sub-Zero temperatures,
14:22:23 and then they get extreme heat, uh, cycles in the summer.
14:22:26 Um, you know, with severe storms, thunderstorms, tornadoes, hail,
14:22:29 and all of it just amplified, um, over the past, like decade.
14:22:33 Yeah.
14:22:34 Yeah, they had hurricane force winds in Iowa this year.
14:22:55 It does seem to be getting wackier. Like I remember thinking back,
14:22:58 like, cause you know, I've lived in South Florida since 95.
14:23:01 No four is when we moved to South Florida and I've popped around
14:23:03 Florida since then. But, um,
14:23:05 I remember thinking like for a good 10 years we had nothing. Right.
14:23:07 And I was just like the big one's going to hit. Like I did in my head.
14:23:09 I just kind of kept going through my head, like the big one.
14:23:11 And then we have like Irma and all these giant ones that went to the
14:23:13 central. So it does seem.
14:23:15 More active. And I know even from, um,
14:23:16 my pair of 10 year olds that I own,
14:23:18 they're like hurricanes happen every year and I'm like,
14:23:19 they didn't use to like,
14:23:25 It's kind of, it feels like it happens a lot.
14:23:27 So it is an interesting thing. Um, before I forget too,
14:23:30 cause we have about seven minutes left.
14:23:31 I've already put the link to the survey for this webinar in the chat.
14:23:35 So if anyone wants to fill that out before we go, it'd be appreciated.
14:23:37 And also just a quick reminder that we are recording this webinar.
14:23:39 So if you miss something, we will have it up on our website and.
14:23:42 About the Holly early next week. So, but until then,
14:23:45 let's look at a couple more questions.
14:23:46 Um, someone's asking about this is kind of a real specific questions.
14:23:49 It says we are in need of caring for three 19th century wagons in an
14:23:53 extremely arid environment. New Mexico.
14:23:55 Are there specific actions within preventative maintenance to combat
14:23:58 deterioration or on untreated wood.
14:24:00 So do you guys have any experience or advice with that type of thing?
14:24:03 Particularly in a narrative environment.
14:24:04 Um, that would be a better question for.
14:24:07 My boss Rose.
14:24:08 There are longer than I have.
14:24:15 Yeah, I haven't personally dealt too much with,
14:24:17 would I assume I assume they're outside.
14:24:19 And I know that there are conditioning treatments that can be done for
14:24:22 wood, uh, in exterior environments.
14:24:24 Um, so yeah, I'd have to get up to look into that. And I'm sorry,
14:24:27 I don't have a specific answer.
14:24:30 I would advise that person if they really want to,
14:24:32 why don't you post that in the community and the protector in ours,
14:24:35 uh, CDC care community.
14:24:36 And then we can get you with the people who might be able to give you
14:24:37 a more specific answer.
14:24:38 Um, just go to our website pick community and we can see about getting
14:24:41 that for you.
14:24:42 Yeah.
14:24:45 There are conservative space in, in, uh,
14:24:47 in Tucson and things like that who like really have a much more in
14:24:50 drier environment than LA.
14:24:51 I dealt with that.
14:24:59 Um, how about this is again, you get a little specific, well,
14:25:01 here I'll move on to this one does heavy or excessive rain require
14:25:04 particular attention in the Midwest.
14:25:06 We have hard water in our rain can even be acidic at times.
14:25:09 I think we're, we're all nodding. Yeah.
14:25:11 Um, you know, I think if it were.
14:25:23 In the collection, lighten mine.
14:25:25 If you see that your outdoor objects are getting the brunt of,
14:25:29 uh, of a lot of rainfall,
14:25:31 then you might look at what you can do to at least get them undercover
14:25:34 for at least part of the year.
14:25:35 Um, that that would be my suggestion.
14:25:37 Um, yeah, I think I would agree with that and also say, um,
14:25:41 You're going to have to monitor them, I would say. So for example,
14:25:46 The water at, at T's the comer again,
14:25:48 as an example of what the water at the comer is, um,
14:26:00 It's very hard. It's it? There's like on that map that Christina had,
14:26:04 there's like a sliver of red that runs down in that that's the comer.
14:26:07 And so, um, with a lot of clients like that,
14:26:09 and we do it here for salts as well.
14:26:12 Um,
14:26:13 we recommend rinsing the sculptures with distilled water to remove any
14:26:18 of that, um, contaminants that might be in either the heart.
14:26:21 Or the rainwater. Um, and if you're renting with distilled water,
14:26:24 then it's not adding anything to it.
14:26:26 And it's just getting off the contaminants.
14:26:27 Um, that might be something.
14:26:29 Worth thinking about for particular for works,
14:26:32 that that particularly affects, we'll say.
14:26:41 Um, this is when actually Christina, you might be able to answer to,
14:26:43 it says, does lingering smoke from wildfires caused issues on outdoor
14:26:47 sculptures? I'm guessing they're sit involved.
14:26:49 Sometimes. Yeah.
14:26:51 Yeah. I mean, it definitely can, especially on a uncoated metal.
14:26:54 So it kinda, it can.
14:27:06 Can absolutely lead to corrosion, um, and on porous surfaces as well.
14:27:09 Um, you know, it can get work down into the pores, uh, of, of,
14:27:13 you know, wood, masonry, things like that. Um, so yeah, that's,
14:27:17 that's definitely after there is a fire event and once the, the, um,
14:27:20 The smoke.
14:27:21 Literally kind of settles. Uh,
14:27:22 we start making contingency plans with our different clients.
14:27:25 Kind of a triage, you know, to get ourselves out there.
14:27:27 Uh, and get our crews.
14:27:28 They're working to get that off of those surfaces as soon as possible.
14:27:31 Which has been tricky with some of these, because they've, you know,
14:27:33 the, there was one, a Bobcat fire here that.
14:27:35 Uh, was largely uncontained for almost a month.
14:27:45 You know, and we're sitting there waiting and, you know, kinda like,
14:27:47 you know, I don't know, it's not great. It's sitting there,
14:27:48 but if I clean it off, there's just gonna be more. And, um, you know,
14:27:51 uh, two or so years ago there were multiple fires,
14:27:54 so we'd go out and clean it all off and then a month or so later it
14:27:56 happened again. And it's.
14:27:58 You know, it's, it's very frustrating, but, um, yeah,
14:28:00 the sooner you can get it off, the better.
14:28:05 Um, and I think we have one more final ones. So they have,
14:28:07 this is a little specific, but I'll ask it in general too.
14:28:09 What would you recommend for graffiti tagging removal?
14:28:12 They say from rockets. So I'm guessing that's metal, but.
14:28:14 You guys had any experience and also removing just graffiti or
14:28:18 tagging,
14:28:19 just generally speaking from outdoor sculptures or collections.
14:28:22 Yeah, but I mean, that comes up for us a lot.
14:28:24 I imagine.
14:28:25 Um,
14:28:26 Yeah. And that comes up for us.
14:28:28 Uh, removing it from metal tends to be.
14:28:30 Easier than removing it from porous, um, substance.
14:28:37 Uh, but I wouldn't really be able to give any recommendations,
14:28:40 not knowing, um, what the.
14:28:46 Type of paints is that it's on.
14:28:49 And also what it is that you're removing, but, um,
14:28:52 Yeah.
14:28:53 Sorry. That's that? It depends answer again.
14:29:01 Um, but I mean to remove the spray, Pete,
14:29:04 you wouldn't want to damage the underlying pain.
14:29:06 Presumably the rocket is painted.
14:29:08 Yeah, that's fine.
14:29:09 Oh, go ahead.
14:29:14 That is characterizing what was applied and that saw the solubility
14:29:18 parameter of that material versus what it was applied to in the
14:29:20 solubility of that.
14:29:22 And then you can kind of dial in on, on how best to do that.
14:29:25 If it's etched, graffiti, where they've carved something into it,
14:29:27 then that's a whole other.
14:29:28 Uh, that's a whole other ballgame.
14:29:30 And that is, I mean, yeah, cause I mean, yeah.
14:29:37 I don't want to say your first inclination,
14:29:38 but it was dry graffiti before, you know,
14:29:40 back in the day would've been like,
14:29:41 we'll just take a wire brush to it, but then you're right.
14:29:42 Like all of a sudden you're getting into hitting those underlayers and
14:29:44 your.
14:29:45 Ended up destroying the, the object underneath, you know,
14:29:48 especially if you end up trying to use some sort of crazy chemical
14:29:50 that they might have that could really cause some damage.
14:29:57 So, well, it is two 30, shockingly enough.
14:29:59 So I want to say a huge thank you to all of our speakers.
14:30:02 You guys gave a lot of great information today.
14:30:04 Talked about a lot of different object types.
14:30:05 So thank you again for doing that.
14:30:07 Um, I want to say thank you to IMLS who supports this program?
14:30:10 FAIC our producers over at learning time.
14:30:13 Uh, we hope everyone is enjoying the new zoom format.