Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. RE: Job Posting - Conservation Scientist - National Museum, Oslo - Norway 2. RE: Adhesive for ethafoam? 3. New Book: “Art Conservation: Vibrations and Shock” 4. Call OPEN until 1st July 2026 - Heritage at risk. Challenges and solutions 5. RE: [Job Vacancy, Singapore] Senior Conservator and Head of Section (Inorganic Objects), Heritage Conservation Centre 6. RE: Isolating varnish 7. NATCC 2027 - Living in Color: Coloring Agents and Textile Conservation - CALL FOR ABSTRACTS ------------------------------------------------------------------------------------------------------------ 1.From: Marie Kleivane Posted: Wednesday June 3, 2026 8:39 AM Subject: RE: Job Posting - Conservation Scientist - National Museum, Oslo - Norway Message: Dear all, Don't forget this unique opportunity to apply-deadline Sunday, June 7! ------------------------------ Marie Kleivane Paper Conservator Nasjonalmuseet for Kunst, Arkitektur og Design Oslo Norway ------------------------------ ------------------------------------------- Original Message: Sent: 05-18-2026 07:22 From: Marie Kleivane Subject: Job Posting - Conservation Scientist - National Museum, Oslo - Norway The National Museum is seeking a Conservation Scientist to join its multidisciplinary team of conservators, whose expertise covers a broad range of materials. The position will contribute to the development of new scientific expertise in the museum's landmark building, opened in 2022. This is a rare opportunity to play a central role in shaping the scientific foundation of conservation practice at a major European museum. The successful candidate will work closely with highly skilled conservators across multiple material specialisms and contribute to a growing, internationally oriented research environment. Application deadline: 7th June.The vacancy is listed on Webcruiter https://21982000.webcruiter.no/Main/Recruit/Public/5116546744?language=nb&link_source_id=0. <https://nor01.safelinks.protection.outlook.com/?url=https%3A%2F%2F21982000.webcruiter.no%2FMain%2FRecruit%2FPublic%2F5116546744%3Flanguage%3Dnb%26link_source_id%3D0&data=05%7C02%7Cmarie.kleivane%40nasjonalmuseet.no%7Cf73065e29afb4d07227308deb4ce6cb3%7Ce44cf2a3025542f4bb45a6ce6d5d4fa2%7C0%7C0%7C639146995856428214%7CUnknown%7CTWFpbGZsb3d8eyJFbXB0eU1hcGkiOnRydWUsIlYiOiIwLjAuMDAwMCIsIlAiOiJXaW4zMiIsIkFOIjoiTWFpbCIsIldUIjoyfQ%3D%3D%7C0%7C%7C%7C&sdata=Q4dhUnWDGHAqGaClkIwP4NmUg%2F3vPymi%2Bz1oSq4c8E0%3D&reserved=0> Klikk eller trykk hvis du stoler på denne koblingen." data-ogsc="" target="_blank" rel="noopener">https://21982000.webcruiter.no/Main/Recruit/Public/5116546744?language=nb&link_source_id=0Kari Skytt AndersenHead of Conservation+47 452 18 [email protected] <[email protected]> ------------------------------ Marie Kleivane Paper Conservator Nasjonalmuseet for Kunst, Arkitektur og Design Oslo Norway ------------------------------ 2.From: Mark Anderton Posted: Wednesday June 3, 2026 8:39 AM Subject: RE: Adhesive for ethafoam? Message: Hi Tara, No problem. Here's a link to our UK-based supplier: <https://uk.rs-online.com/web/p/glues/4849900>Power Adhesives, Transparent 300 mm <https://uk.rs-online.com/web/p/glues/4849900> If you'd like, I can also email you a copy of our Oddy test results for reference. Best of luck. Kind Regards, Mark ------------------------------ Mark Anderton Preventive Conservator National Museums Liverpool Liverpool, England, United Kingdom [email protected] ------------------------------ ------------------------------------------- Original Message: Sent: 06-02-2026 12:51 From: Tara Kennedy Subject: Adhesive for ethafoam? Thank you, Mark! This is very helpful. I will see if I am able to purchase this from the UK and then look into doing Oddy tests on US distributors for the adhesive. Many thanks! Tara ______________________________________________________________________ Tara D. Kennedy Head, Preventive Conservation Library Center for Preservation and Conservation Services 344 Winchester Avenue, New Haven, CT 06511 203-432-4335 [email protected] <[email protected]> Collection Emergency? 475-301-4519 Original Message: Sent: 5/29/2026 5:39:00 AM From: Mark Anderton Subject: RE: Adhesive for ethafoam? Hello Tara, At National Museums Liverpool, England, UK, we've been using Techbond 240 manufactured by Power Adhesives. It's an EVA-based hot-melt adhesive that has passed the Oddy test in the UK as suitable for permanent use. A cursory Google search suggests it is available in the US. https://www.poweradhesives.com/adhesives/tecbond-240/ <https://www.poweradhesives.com/adhesives/tecbond-240/> I can provide our Oddy test results for reference, however I'd be mindful that the composition of products can vary if they're manufactured in different parts of the world. For peace of mind, It might be prudent to repeat the Oddy test with a sample from a US supplier. I hope that's helpful. Kind Regards, Mark ------------------------------ Mark Anderton Preventive Conservator National Museums Liverpool Liverpool, England, United Kingdom [email protected] <[email protected]> ------------------------------ 3.From: William Wei Posted: Wednesday June 3, 2026 8:41 AM Subject: New Book: “Art Conservation: Vibrations and Shock” Message: I am proud to announce the publication of my new book, "Art Conservation: Vibrations and Shock". The effects of vibrations and shock on valuable cultural heritage objects continue to be a major concern for conservators, collection managers, and heritage professionals. Due to a lack of training in mechanical engineering and mechanics in heritage curricula, hearsay and a fear of the unknown often play too much of a role in dealing with vibrations and/or shock, for example, caused by construction projects or rock concerts in or near their collections, or loan transports. As a result, heritage professionals must search for solutions in a literature filled with confusing and often misunderstood and misused terminology, and expensive and often overdesigned mitigation technologies. This second book in the Jenny Stanford Art Conservation series was therefore written to provide cultural heritage professionals and students with a solid introduction to the basic concepts and terminology used in engineering for dealing with problems with vibrations and shock. Like the first book in the series (on mechanical properties and testing), it is presented in clear, accessible language for readers without a technical (mechanical engineering) background. The goal is to help them systematically analyze risks due to vibrations and shock through experience and testing, understand how vibration and shock monitoring works, and find simple and cost-effective mitigation strategies. The book is available for pre-ordering prior to its release on June 9, 2026. ISBN 9789815352061 ------------------------------ Dr. W. (Bill) Wei Senior conservation scientist (retired) Cultural Heritage Agency of the Netherlands now: vibmech.nl / Wilbar Holding B.V. Mr. P.N. Arntzeniusweg 108-1 NL-1098GT Amsterdam The Netherlands +31 6 2246 3135 <tel:+31 6 2246 3135> [email protected] ------------------------------ 4.From: Ana Bailão Posted: Wednesday June 3, 2026 8:48 AM Subject: Call OPEN until 1st July 2026 - Heritage at risk. Challenges and solutions Message: Call OPEN until 1st July 2026 - Heritage at risk. Challenges and solutions The 6th edition of the Ibero-American Congress on Heritage Conservation Research will be held from 7 to 9 October 2026, in hybrid format, at the Faculty of Fine Arts of the Complutense University of Madrid. This edition will focus on the theme "Heritage at Risk: Challenges and Solutions." The event is organised through a collaboration between researchers from the Faculty of Fine Arts of the Complutense University of Madrid and the Faculty of Fine Arts of the University of Lisbon, with the support of the Spanish Group of the IIC. All proposals may be submitted in Spanish, Portuguese or English. More information here: Llamada de trabajos <https://sites.google.com/view/congresso-ibero-americano-icp/llamada-de-trabajos> Google remove preview <https://sites.google.com/view/congresso-ibero-americano-icp/llamada-de-trabajos> Llamada de trabajos PLAZOS Llamada de trabajos: hasta el 1 de julio de 2026 Comunicación de propuestas admitidas: 30 de julio de 2026 DEADLINES Call for Papers: until 1st July 2026 Notification of accepted proposals: 30th July 2026 View this on Google > <https://sites.google.com/view/congresso-ibero-americano-icp/llamada-de-trabajos> ------------------------------ Ana Bailão Assistant Professor Universidade de Lisboa, Faculdade de Belas Artes, Departamento de Ciências da Arte e do Património Lisboa Portugal ------------------------------ 5.From: Craig Deller Posted: Wednesday June 3, 2026 12:09 PM Subject: RE: [Job Vacancy, Singapore] Senior Conservator and Head of Section (Inorganic Objects), Heritage Conservation Centre Message: Phyliss, the links seem to be broken. "The page you are looking for doesn't exist" ------------------------------ Craig Deller FAIC FIIC ------------------------------ ------------------------------------------- Original Message: Sent: 06-01-2026 23:37 From: Fiona Lee Subject: [Job Vacancy, Singapore] Senior Conservator and Head of Section (Inorganic Objects), Heritage Conservation Centre Senior Conservator and Head of Section (Inorganic Objects), Heritage Conservation Centre The Heritage Conservation Centre (HCC) is an institution of the National Heritage Board (NHB) and supports the collecting and display activities of 12 institutions under NHB and the Visual Arts Cluster. HCC's main mission is to care for the National Collection, facilitate its current and future access and promote its use while enhancing its cultural significance. HCC is located in a purpose-built facility that serves as the centralised storage and conservation labs for the National Collection of Singapore. The National Collection encompasses a wide range of art and heritage objects, including but not limited to decorative objects, social history objects, contemporary art installations, industrial and technical heritage objects, musical instruments, and re-functionalised objects. Currently, the Conservation Services department at HCC comprises 6 conservation specialisations organised in sections: Inorganic Objects; Organic Objects; Paintings; Paper, Photographs & Digital Media; Textiles; and Conservation Science. HCC is now recruiting a Senior Conservator/ Head of Section (Inorganic Objects) to lead the Inorganic Objects conservation section. Key Responsibilities As Head of Section of the Inorganic Objects team, you will be expected to fulfil dual roles as a team manager and as a senior conservator: carrying out leadership and management functions, and delivering conservation work at an individual-contributor level. Leadership and management functions · Set the team direction in alignment with priorities defined at departmental and institutional levels while overseeing the day-to-day operations of the section. · Manage team resources to prioritise, scope, and successfully deliver conservation support for collections-related projects, including exhibitions and storage, within NHB. · Supervise staff in the section to reinforce constructive work behaviour and performance. This includes mentoring and coaching staff, identifying training needs, and facilitating general staff development. · Manage section staffing, including the hiring and selection of conservators and interns. · Contribute to the management of the Conservation Services department and facilitate work across departments and divisions in NHB, while closely working with the other Heads of Sections and leaders of relevant working groups. This includes establishing and monitoring yearly work plans and administering budgets allocated to the section, according to HCC and NHB procedures. · Represent HCC in collaborations with other institutions as and when required, to advance its reputation as a leader on conservation matters, locally, regionally and internationally. · Oversee and provide advice on conservation work undertaken by conservators in the Inorganic Objects section, including collections care, conservation treatments, scientific analyses, and project management. · Ensure that conservation guidelines and standards of practice for a holistic approach to collections care and access are based on current ethics and principles, and that they are timely and adequately implemented by the section within allocated resources. · Set research directions for the section that are aligned with the overall research priorities of the Conservation Services department, and supervise and drive the resulting research activities in the section. · Oversee and drive outreach activities of the section relating to collections care and conservation, which may include areas of professional collaboration, education, and capability development, involving both professional and non-professional target audiences that are internal or external to HCC and NHB. Operational functions As required, as in the capacity of an Inorganic Objects conservator: · Manage exhibition projects, liaising between stakeholders to cover both conservation-related and administrative aspects of exhibition preparations, including preventive conservation as necessary. · Provide advice on collection display methods and maintenance of collections storage facilities to staff at NHB institutions, the HCC Collections Management department, and other stakeholders. · Identify, design, and execute complex interventive conservation projects and treatments on artworks and artefacts from the National Collection, in collaboration with relevant stakeholders and according to HCC and NHB procedures. · Carry out documentation and knowledge management processes to ensure that all conservation-related documentation is of good quality, appropriately comprehensive, and accessible in the long-term. · Provide expert assessments of the condition and care requirements of proposed acquisitions. · Contribute to and/or conduct conservation research projects to enhance collection knowledge and support access and use of the National Collection. When relevant and possible, initiate collaborations and build partnerships locally, regionally and/ or internationally, with main stakeholders including source communities and local communities of users. · Present conservation findings and research results at local or international venues and publish articles on conservation techniques and practices. · Develop and conduct outreach activities relating to collections care and conservation, for both professional and non-professional audiences that are internal or external to HCC and NHB. These may include working with relevant stakeholders to generate greater awareness, interest, and knowledge in preservation and conservation. Requirements · A relevant Masters degree in Conservation from a recognised training institution.[AC1] <#_msocom_1> Equivalent proven experience will be considered. · Relevant practical experience of preferably 10 years in inorganic objects conservation and at least 5 years of proven leadership and management experience. Experience in an institutional/ public sector setting is preferred. · Expertise in stone conservation will be an advantage. · Proven experience in providing advice on complex conservation treatments, supervising less-experienced staff members, and managing projects (e.g. exhibitions, storage). · Ability to carry out comprehensive and complex treatments with a high degree of cultural and aesthetic sensitivity and manual dexterity, while working under limited supervision. · Experience in conducting research work in the conservation of inorganic materials, with proven dissemination of results. Solid record demonstrating scholarship and publications will be an advantage. · Ability to develop and execute heritage science and conservation research in line with HCC's research strategies around sustainability and vision as a centre of excellence. · Broad understanding of modern conservation practice and its integration with the historical study of objects, proficiency in laboratory methods, and familiarity with analytical instrumentation. · Keep up to date with developments in conservation through self-directed learning and training, with evidence of continual professional development. · Possess exposure to handling multi-cultural materials with sensitivity and sound contextual judgements in applying conservation principles and practices, while working collaboratively with relevant stakeholders. · Familiarity and experience with tropical climates and cultural materials from South-east Asia and Asia preferred. · Possess initiative with the ability to effectively multi-task, organise, and prioritise work within a given timeline, within the dynamic environment of a complex organisation. · Ability to lead, coach, and impart conservation skills and knowledge effectively. · A strong team player with good interpersonal and communication skills and the ability to work collaboratively with stakeholders across departments and institutions. · Ability to adapt to a multi-lingual and multi-racial environment. · Excellent verbal and written communication skills. Fluency in English is required. · Proficiency in Microsoft Office, including Excel. Work Location The Senior Conservator will mostly be based at HCC (32 Jurong Port Road, Singapore 619104), and will be required to occasionally travel to other work locations in Singapore. Successful candidates will be offered a 2-year contract in the first instance. Salary Range: $5000-7000 (Singapore Dollar) with attractive Relocation and Benefits Package To apply, please click HERE <https://sggovterp.wd102.myworkdayjobs.com/PublicServiceCareers/job/NHB-Heritage-Conservation-Centre-HCC/Senior-Conservator-and-Head-of-Section--Inorganic-Objects---Heritage-Conservation-Centre_JR-10000051409> to submit your application. Senior Conservator and Head of Section (Inorganic Objects), Heritage Conservation Centre <https://sggovterp.wd102.myworkdayjobs.com/PublicServiceCareers/job/NHB-Heritage-Conservation-Centre-HCC/Senior-Conservator-and-Head-of-Section--Inorganic-Objects---Heritage-Conservation-Centre_JR-10000051409> All interested applicants should follow the instructions at the Careers@Gov website to submit their application. Deadline for submission is 9 July 2026 Please direct any questions to: Phyllis Koh [email protected] <[email protected]> [AC1] <#_msoanchor_1>Putting in this specific will mean we will only consider candidates with at least a Masters degree. ------------------------------ Phyllis Koh [email protected] <[email protected]> Senior Assistant Director & Senior Conservator (Paper) • Heritage Conservation Centre•Singapore ------------------------------ 6.From: Steven Prins Posted: Wednesday June 3, 2026 1:23 PM Subject: RE: Isolating varnish Message: Hi Valeria et al, Thank for your fascinating and informative inquiry. I also understood your initial post to be seeking advice on practical methods, which seemed rather dubious to me. So your clarification was welcome, not only to find that it was not something you might be actually doing but moreover to find that it is something that you have frequently encountered in your career as a painting conservator in Italy. As you note, this was an artisanal practice that predates the introduction of synthetic resins. And there is little or no archival information regarding previous treatments documenting its use. Nonetheless, the fact that it is recommended by Secco Suardo speaks volumes. One might expect to find it widely used simply by virtue of that fact alone. Your experience appears to confirm that assumption. Thank you for bringing this to light for an English speaking audience, most of whom may not be familiar with Secco Suardo. (Unfortunately, never translated into English, an unfinished calling of the late Marco Grassi.) It is very helpful to alert foreign conservators to this tradition, as it might be confusing and even frustrating when encountered by the naive in practice. And it will be interesting to see how often it is encountered in American collections when actively sought after, especially as we have such a treasure trove of old master paintings brought, often newly restored, from Italy in the 20th Century. A fascinating avenue of research. I for one look forward to seeing the results. With warmest greetings from sunny Santa Fe Steven ------------------------------ Steven Prins Santa Fe, NM ------------------------------ ------------------------------------------- Original Message: Sent: 06-02-2026 12:02 From: Valeria Cocchetti Subject: Isolating varnish Thanks to you Elisabetta and to all those who can contribute. I'm not even sure if the practice was mainly used in Tuscany or is also found in other Italian regions. Will accept any testimonials!Valeria Original Message: Sent: 6/2/2026 10:59:00 AM From: Elisabetta Bosetti Subject: RE: Isolating varnish Hi Valeria, Thank you for the clarification. I had understood your question primarily from a technical rather than a historical perspective. Unfortunately, I cannot contribute much regarding the historical use of animal glue as an isolating varnish. In my professional experience, I have never come across this practice being discussed or documented. It is very interesting that you have encountered so many examples in practice while finding so little written documentation. I hope someone in the group may be able to provide references from outside Italy, as it would be fascinating to know whether this was a more widespread workshop practice. Thank you for sharing your research. Best regards, Elisabetta ------------------------------ Elisabetta Bosetti Paintings Conservator Malerikonservator Elisabetta Bosetti Bagsvaerd Denmark ------------------------------ Original Message: Sent: 06-02-2026 08:08 From: Valeria Cocchetti Subject: Isolating varnish Hi Elisabetta, my research is on ancient restoration methods: in Italy from the middle of the 20th century onwards it was used to apply glue as Isolating varnish (synthetic resins were not known). During my restorations I frequently found this method, but without ever finding a biography or studies on it: they were artisanal practices that were handed down mainly orally. I've been dealing with paints for paintings for a long time and I also use Pardloud as an Isolating varnish. My question is to historically reconstruct the methods used to uniform differently absorbent surfaces and I was wondering if the practice of applying glue was known abroad. Secco Suardo in the "Manual of the restorer painter" is the only one who runs this methodology.Valeria Cocchetti 7.From: Heather Hodge Posted: Wednesday June 3, 2026 1:24 PM Subject: NATCC 2027 - Living in Color: Coloring Agents and Textile Conservation - CALL FOR ABSTRACTS Message: NORTH AMERICAN TEXTILE CONSERVATION CONFERENCE - Call for submissions Living in Color: Coloring Agents and Textile Conservation Join us for the 16th biennial North American Textile Conservation Conference (NATCC), "Living in Color: Coloring Agents and Textile Conservation," November 2–5, 2027. The meeting will be held once again in the city of Oaxaca de Juárez, Oaxaca, Mexico, with the Fundación Alfredo Harp Helú Oaxaca and the Museo Textil de Oaxaca as main hosting venues. We invite presentations that explore color in its broadest sense. Subjects may include but are not limited to: Understanding Color Drawing on science, art history, and current practices to identify coloring agents and methodologies. Color Across Time Damage to color (fading, bleeding, "mutation" of color), provoked by color (dyes, pigments, inks, dyeing/printing methods), or appreciable through color (yellowing, stains). Color Compensation Dyes and techniques applied on overlays and support fabrics, and methods of compensation on patterned textiles (multicolored, printed, resist-dyed) or those with both color and texture (velvet, lace, fur, feathers, beadwork). Absence of Color Cleaning and/or bleaching of white textiles, including related considerations, ethics, and treatments. Color on Display Assessment of materials and lighting strategies for display, whether to preserve or highlight desired colors, or mitigate undesirable ones (yellowing, staining). Conservators, curators, conservation scientists, art historians, archaeologists, anthropologists, collection managers, artists, preparators, and others engaged with these topics are invited to submit proposals for presentations. Collaborations among professions and institutions are encouraged. Projects already presented or published will not be considered and proposed projects must be completed by the end of 2026. New this year: Tips session abstracts will be considered in addition to those for papers and posters. These short presentations, limited to five minutes or less, focus on sharing practical knowledge. Tips sessions can provide an opportunity to showcase emerging professionals or crowdsource solutions. Although welcome, tips session submissions are not required to adhere to the theme. Please note that tips will not be published in the NATCC Preprints. Abstracts for papers, posters, and tips must be submitted in English or Spanish as a Word document (no PDFs). Please indicate your preferred presentation format. Abstracts are limited to 300 words and must have a title. In the same document, please include a short biography (up to 100 words) and contact information (name, postal and email addresses, telephone number) for each author. Abstracts should not include images or other attachments. Please include your surname in your abstract file name (e.g., SmithNATCC27.docx). Abstracts must be submitted by Monday, July 3, 2026, to [email protected]. Please send a message to [email protected] if you do not receive prompt confirmation of abstract submittal. Abstracts will be peer reviewed by the NATCC board. Authors of selected papers and posters will be notified by September 30, 2026. Paper presenters are required to submit the full publication-ready version of their paper in English or Spanish by February 7, 2027. Poster presenters are required to submit their final poster as a PDF by August 30, 2027. All authors are responsible for obtaining rights and permissions to publish photographs and graphics. Presentation formats will be 20 minutes for papers and 5 minutes for tips. Papers and posters are published in their original language and distributed at the conference along with printed abstracts in English and Spanish. Please email any questions to [email protected] and visit our website for updates at http://natcconference.com <http://natcconference.com> ------------------------------ Heather Hodge Associate Conservator of Textiles Cleveland Museum of Art ------------------------------ You are subscribed to "Global Conservation Forum (ConsDistList)" as [email protected]. To change your subscriptions, go to http://community.culturalheritage.org/preferences?section=Subscriptions. To unsubscribe from this community discussion, go to https://community.culturalheritage.org/HigherLogic/eGroups/Unsubscribe.aspx?UserKey=d16eaa87-0f69-494b-9f2f-303dbc1222e1&sKey=fab9aa4f27a04c5d876e&GroupKey=757a8f16-505f-4323-8e74-e376757aa9f7.
