During my most recent move, this painting was shipped with a vinyl sign (last picture) sitting on top of it. When I removed it, it made a peeling sound that made my heart sink. The art itself seems to be intact, but there's this texture on it now.

Can I clean this without ruining it?

Please let me know if this issue has already been covered in detail in other threads…

I know Julien Baumgartner is a controversial figure in the conservation community and I want to get a better sense of what makes him so controversial. I’ve seen several self identified conservators in different threads call out JB for poor, heavy-handed, or outdated methods in his restoration. Some have even mentioned he is mocked within their circles for his methods. Is there anyone who is willing to go on record, with proof of your expertise, and critique a particularly bad video/s? I’m fully willing to believe that he is not a master restorer/conservator or representative of the entire community but no one has been willing to actually give examples for us laypeople to understand. When examples are given, they are often things he addresses within a video like starting the varnish removal in the center of the work.

I’ve appreciated the many examples shared of conservation studios from prestigious institutions but I can’t help but think that the conservation process for a priceless masterpiece by a legendary artist must but different than resorting a damaged family heirloom from [sometimes] unknown artists. Also, I get the sense that the works featured in his videos are selected because the client requested large amounts of restoration work, which makes a more interesting video and is more dramatic, rather than the more frequent clients who need fixing of small tears and standard cleanings. I do not think every painting that goes into his studio gets a dramatic transformation.

The only analogy I can draw is that these critiques feel like a classically trained Michelin starred French chef ridiculing someone like Ina Garten, not formally trained in a culinary school, for not cooking a particular dish to a specific standard, when in fact, Ina’s clientele isn’t interested in the to-the-letter approach and the resulting products is a exquisite approachable version and she is successful despite the fact it would not feature in a menu at NOMA or Jean-Georges. Or replace Ina with Binging With Babish and the sentiment is the same. My point is, like Ina, JB did not receive formal training in an institution. They both learned on the job at reputable establishments under other educated professionals. He does not seem like some charlatan peddling bad advice and bad bad practices like a 5 Minute Crafts video and the information provided isn’t intended to be a degree course in conservation, rather an entertaining video where he can educate a broad audience about conservation at a surface level. Albeit his particular field of conservation. He, I assume intentionally, leaves out all important chemical/solvent info and detailed technique information so others cannot replicate at home and irreparably damage something. (I know this is maybe a sloppy analogy but I hope it makes sense)

I know that it is not the responsibility of experts to sway my opinion, or the opinion of the masses, and you have better ways to spend your time but I’m genuinely interested in learning. Maybe the simple answer is that the restoration/conservation work would be handled differently in a museum rather than a private collection, but I'm still curious about an expert opinion and critique.

Is not ready yet but is coming together….

…well, technically Ask a Conservator Day is tomorrow, Nov 4. But today was better schedule-wise. 🙈

Anyways, here’s a bit about us and our work:

• We’re all professional paper conservators

• We work almost exclusively with our rarest and most valuable items, which are part of TPL’s Special Collections

• We treat all sorts of paper-based materials, including archival materials, works of art on paper and books

• Our conservation lab is located at Toronto Reference Library, TPL’s largest branch

• As part of our job, we help prepare original items for exhibition and monitor display and storage environments

• We love what we do

And we’d love to hear your questions. 💙

P.S. Did you know that Ask a Conservator day commemorates the flooding of Florence on November 4, 1966?

Not sure if this allowed here so stop me if I’m out of place! I work for a large conservation framer and I finished this massive boro piece today and don’t have anyone to share it with (the framing sub is not really my vibe).

I’m not really interested in restoring it but it’s brittle I was thinking of using a thick piece of 100% cotton watercolor paper to affix it to then frame it I thought spray tack glue?

Is this fixable? I actually like how the cracks look, but I’m worried that the paint is flaking off. The paint has been cracked for as long as I can remember. I really love the painting and would love to make it last as long as possible!

Hi everyone!

I'm a senior art history undergraduate currently writing my thesis on the ethics of conserving prison art, specifically around works made from materials of scarcity (soap, envelopes, sock thread, toilet paper, improvised pigments, etc.).

My research argues that prison art exposes some ethical contradictions within standard conservation methods like material stability, consent of artist, and the intent of permanence. Some of these assumptions seem to not always apply to work made with the context of incarceration or scarcity.

One of the central questions I'm thinking about is whether using museum grade materials change the meaning of artwork. When an object is created under conditions of incarceration and material scarcity, I'm wondering if conservation adds a layer of authorship to the piece. I'm curious if these materials contradict the conditions that the piece was originally created in.

I'd really appreciate insight on a few questions:

- Should prison art be allowed to visibly age or decompose as part of the meaning? I believe prison art deserves the same level of care as any other piece, but I think this situation needs more nuance.

- How can conservators ethically acknowledge the addition of museum grade materials when the original piece was created out of necessity, survival, or scare materials?

- How do conservators approach pieces where unstable materials and decay could be conceptually significant?

- In cases where the artist is anonymous, deceased, or inaccessible, how do conservators think about consent when preserving a work?

I'm especially interested in the chemistry and material science side and would love any resources on aging and degradation of materials like soap, toilet paper, or found fibers like sock thread.

Any resources, case studies, general ideas, critiques, or conservators/artists I should look into or reach out to would be greatly appreciated.

Thanks!

I just purchased this oil on canvas painting today, and in the corner there is some white "stuff". I have pretty limited conservation knowledge, but I knew that some saliva wouldn't hurt it. When I rubbed some on with my finger, the white stuff disappeared, and I could clearly see the paint underneath. But after a few minutes, that spot would dry, and it was covered in "stuff" again. Is it varnish loss? Is there anything I can do to get rid of it?

Hi all- we just found this painting in our attic while moving out. It was in our great grandparents house and we would really like to see it we can get it repaired. We know it’s Italian or Dutch. Any info appreciated. Thanks!

I know whether something is worth it is very subjective from person to person. Art conservation seems like a dream job to me. I love art, history, and science. But, from what I’ve read, job possibilities are slim. I would be okay with being in student debt and making only 40k a year if I knew I would have a job. But, student debt and no job? The career move scares me. I would appreciate any and all feedback from those in the field. Whether you are a past, current, or aspiring conservator.

Hi Everyone!

I am one of the new moderators of r/ArtConservation and have been working on an FAQ focusing on helping those who are interested in getting into our field. I spent some time going through old posts in this sub and collected some common questions and attempted to answer them as best as I could.

I would love for this FAQ to continue to grow and change and be edited as time goes on. If you have a question that is not answered here, I would love to hear it and add it to the list! I would also love this FAQ to grow into a more general conservation FAQ, so if you have questions not related to getting into the graduate programs, please feel free to ask away!

Looking forward to hearing everyone's ideas and contributions!

_____________________________________________________________

Become a Conservator!

Welcome to the magical world of conservation, where we get to touch the untouchable museum objects and get paid to do it!

Conservation is an incredibly rewarding and exciting career, but navigating the ocean of information on how to break into this field can be daunting.

Here are some frequently asked questions!

Please check back with this list, as it will continue to grow!

1. Do you need a graduate degree to be a Conservator?

Technically, no. You can become a “bench trained” conservator. Bench training is most simply described as being apprenticed. This is a completely acceptable road to conservation, however, finding jobs as a bench-trained professional is increasingly rare and will require double, if not triple the years of experience required to be eligible for most institutional jobs.

2. What is the benefit of a graduate degree?

Graduate programs in the US are 3 to 4 year (depending on the program) degree programs that offer in-depth training in all aspects of conservation from scientific analysis, treatments, art historical research, and fine art hand skills. Graduate trained conservators are well versed in many conservation specialties and are given the opportunity to specialize in areas such as paintings, objects, paper, archaeological materials, etc. With a graduate degree, your training is essentially fast-tracked and qualifies one for institutional conservation positions immediately after graduation. With a graduate degree, one is also given access to premier internships around the world and a vast network of conservation professionals.

3. Where are the main US graduate programs?

In the US, there are 4 main conservation graduate programs as well as a select group of graduate programs that can lead to more specialized careers in conservation. All of the programs listed below accept 8-10 students each fall and have their own individual list of requirements in order to be eligible to apply. Each program is unique and has its own pros and cons based on the interest of the specific student.

The Institute of Fine Arts - NYU

(https://ifa.nyu.edu/conservation/index.htm)

NYU is a 4 year program which offers two masters degrees, an MS in the Conservation of Historic and Artistic Works and an MA in the History of Art and Archaeology.

Winterthur University of Delaware

(https://www.artcons.udel.edu/masters/about-the-masters-program)

Delaware is a 3 year program offering a MS in Art Conservation.

The State University of New York - Buffalo

(https://artconservation.buffalostate.edu/about)

Buffalo is a 3 year program offering a MA in Conservation as well as a Certificate in Advanced Study in Art Conservation.

The University of California - Los Angeles

(https://grad.ucla.edu/programs/social-sciences/conservation-of-archaeological-ethnographic-materials-department/conservation-of-archaeological-and-ethnographic-materials/)

UCLA is a 3 year program offering a MA in the Conservation of Archaeological & Ethnographic Materials.

4. What Undergraduate degree do you need to become a Conservator?

There is no specific undergraduate degree requirement in order to apply to the US graduate programs. That being said, there are three degrees that are the most successful in being granted admission.

1. Art History

2. Chemistry

3. Fine art

Most graduate students have a mix of these three elements tailored to the interest of the specific students. All of the programs require Chemistry courses through Organic 2 as well as a mix of art history courses and fine arts.

*Note - The University of Delaware does offer an Undergraduate degree in Art Conservation which prepares students to apply to the graduate programs. This, however, does not guarantee you a spot in the Winterthur graduate program.

5. What should I be doing in my undergrad to prepare for/make myself a good applicant?

There are several things one should be keeping in mind while preparing to apply for one of the graduate programs. First and foremost is pre-program conservation experience. Not all of the programs require in lab hours, but successful applicants usually range anywhere from 800 hours to several years worth of experience. This can be quite daunting at first, but PAID pre-program internship opportunities are on a steady incline. Most students find pre-program internships in the summer, but during your undergraduate training, part-time hours are just as valuable.

Another important aspect of the application process is your fine art portfolio. All of the schools require their own specific types of art they would like to see, but most of them require at least a painting, a drawing, some sort of 3D artwork such as pottery, and a re-creation of an existing artist’s work. The purpose for this is so that the program can assess your hand skills as well as your color matching skills. Most students will take a number of fine art classes during their undergrad career for college credit and use their art works created in these classes towards their fine art portfolio. However, it is beneficial to create art works outside of the general requirements and make works that align with your personal interests. Such art objects include woodworking, print making, needle crafts (knitting, crochet, weaving, embroidery, cross stitch), paper making, book binding, painting with historical materials such as tempera, metalsmithing, etc. The options are almost endless with the exception of a few types of art that are not considered a good indicator of hand skills (digital arts such as graphic design, digital photography, or digital animation). The more diverse your fine art portfolio is, the more impressive you are to schools!

6. How much does being a conservator pay?

This is a rather difficult question to answer with a lot of contributing factors. However, currently, an assistant conservator can expect to start out with a salary of around $50,000 plus benefits (keep in mind this is a conservative estimate). This can vary greatly depending on the institution, city, as well as specific experience level. If you are a member of the AIC, there are job postings on the website as well as in their email blasts. Conservation is a very open and transparent field where listed salary ranges within job postings are expected.

7. What can I do to make the most of my pre-program internships?

Making the most of your internships is arguably the most important aspect of your pre-program preparations! It’s also the most fun!

Since there are so many things to be done, I will add a bullet list here and continue to add to it when other suggestions are made.

• Document EVERYTHING!

  • Keep detailed notes of your treatment process as well as why you made the decisions you made (interviewers will ask you why you chose one adhesive over another so write it down while you still remember!)

  • Take detailed pictures of your treatment process.

• Go above and beyond on your treatment reports.

  • Have your supervisor proofread your reports as well as reach out to your friends in the field for proofreading. Revise, revise, revise!

  • Annotate your images. Interviewers love this!

  • Keep a running list of the specific materials you used at the end of your report.

    • If possible, keep track of the suppliers of the materials as well as serial numbers. If something goes wrong, you will have easy access to the information you need.

  • Include historical information about the object you are working with.

  • Always include an initial summary of the report as well as your treatment objectives and a conclusion.

• Ask people to take pictures of you while you are working.

  • This can be a bit embarrassing at times, but trust me, interviewers LOVE to see them!

• Become friends with your supervisors as well as other conservators working around you.

  • Conservation is a very small field and letters of recommendation are extremely important. The better relationship you have with your supervisors, the more likely you are to be able to reach out to them for letters as well as for advice.

• Keep EVERYTHING!

  • Have a dedicated external hard drive where you can store all of your conservation-related information and back it up regularly.

  • Keep your files organized and save all of your images, notes, reports, and drafts of your reports. Trust me, you’ll thank yourself when you’re putting together your interview presentations.

• Keep a running master CV.

  • It doesn’t have to be perfect, but a running list of your experience all in one place is extremely valuable when tailoring a CV to a specific job you’re applying for.

    • Keep track of the dates you worked, your supervisor’s contact information, as well as a list of projects you worked on, and specific skills you acquired during your time there.

  • Include on this CV lectures and conferences you have attended, awards you have received, presentations you have given, and anything else that might look good to bulk up your future CV.

    • In the normal world, everyone says to keep your CV to one page. However, in academia, the opposite is true. The longer your CV, the more experience you have and the more likely you are to land a job.

I’m reviewing a mid-19th-century oil-on-canvas portrait that has developed a localized but persistent discoloration just below and the right of the subject’s locket. Under raking light, the area presents with a matte surface and a faint lightening compared to the surrounding varnish.

Preliminary spot analysis indicated elevated sodium and residual globular proteins—possibly casein or related whey derivatives—suggesting historical exposure to a proteinaceous fluid. Adjacent deposition appears consistent with a clear aqueous medium, showing patterns of evaporative sodium crystallization likely concurrent with the protein event.

No blanching or active migration is evident, but the surface reflectivity is disrupted in a way that draws the eye and affects overall legibility.

Dry mechanical reduction has proven ineffective. Given the apparent integration with the varnish layer, I’ve deferred any polar solvent testing pending further material analysis.

Has anyone encountered analogous residue phenomena? I’d welcome practical insights, maxims, jaunty aphorisms, or idioms that might guide approach in similar future cases.

We are trying to save artist Justin Green's work that was hand painted on our storefront a few decades ago. A vandal threw a brick through one side, but since it wasn't safety glass, the glass replacement people (shout out to Ryan's All Glass in Cincinnati) were able to cut out and preserve the art before boarding up that side. There is some question that the other (unbroken) pane is safety glass and that cutting the glass won't be possible. We had tried donating the entire glass panes to a local museum, but they weren't able to take it due to sheer size of the glass. I was hoping that since we had cut down the one side, we'd be able to do the same for the other and then could just donate the glass with the artwork on it. I'm concerned we'll be back to square one with the huge unbroken pane.

Any ideas on how we can preserve the art on the safety glass?

I know nothing about art, let alone collectible lithos! Can anyone tell me if the green haze can be "cleaned" away from this litho print? (Morning Melody by Brownell McGrew, signed in lower right, but half covered by the white-washed and gold wood frame with a couple scrape marks) I see pics of this without the green haze and the colors are beautiful. I've wanted this for years because one - with the beautiful colors -hung behind my daughters' piano teacher's grand. Finally found it for $38 at a thrift store (slightly damaged) vs the normal well over $200. But, golly, I wish the green gone!

I have always loved art and history but went into a tech job because $$$ which is just so soul sucking. I found a good looking school in Florence Italy for art conservation - looks like the program is about 2 years. My main interest is furniture restoration.

Am I too old to switch into this as a career?