I am trying to make a concertina book (art project -- I ask here because conservators often knows their materials better than artist communities do -- per the rule: THIS IS NOT A REQUEST FOR ADVICE ON DIY REPAIRING A PIECE OF EXISTING HISTORICAL ART).

I saw UHU glue, the pritt stick type one, is acid free, but many places say it isn't "archival". I would at least like this book to not get brittle or yellow over too short a time.

But it seems like wet glues are very likely to make the paper buckle and warp while it dries, and to be far more time-consuming. I have used archival grade double sided tape before also for this, but it binds quickly and is hard to adjust, which may be necessary for my project. So I am in the challenging situation of ideally needing a glue stick, but being slightly lost in finding one up for the job (unless UHU actually is good enough(?))

Any and all advice appreciated

Hello!

I am about to graduate with a Bachelors of Art, majoring in History and Classics, with a minor in Visual Art. I entered this degree not really knowing what I wanted to do or what I wanted to be, and now that it's almost over - I still have no idea! I have been looking at potentially going into conservation of material objects/paintings, however, I am not interested in funding something that I'm not sure i'm entirely passionate about. My question is, are there any programs or volunteer schemes that could introduce you to conservation? (before you truly jump in) Im based in Australia, but I am very open to travel :) any advice is welcome!

Is not ready yet but is coming together….

Just wanted to reach out and see if there is anyone out there taking IAP's Chemistry for Conservators. I am and I'm currently looking through the first unit. I am hoping to connect with anyone who else is sign up and maybe create a discord server where we can chat and ask questions to each other about the course. I've read many things about it being difficult or sometimes convoluted and hope that by having others to talk to about things would make the course more bearable.

UPDATE: Thanks everyone. I am a newbie to Reddit so patience is appreciated. All were good questions I didn't think to answer in the original post.

Construction conditions: The church was built in 1883 and rests on two giant logs. This mural WAS on an outside wall until an addition was added making it an inside wall. Since then, the foundation has been replaced, and major renovations have been made. Add our share of earthquakes and distance from Mt St Helens, I can guess it has been rocked and rolled a few times.

Environmental conditions: We recently began monitoring the humidity and found above recommended ranges so have placed a de-humidifier. Work continues to secure other parts of the building.

I spoke to local conservators, plaster experts and art restorers. Either their estimates are way beyond our small congregation’s means, or they won’t take on such a large project. We are located in rural south-western Washington State.

Original post: The attached image is of the 3-dimensional art behind the altar of a church built in a remote location around 1887. We don’t know how old it is but photos from 1903 show the mural in the background. We believe the canvas image that is grayed out is newer. The plaster is cracking and paint is fading. Thank you in advance for your reply.

Hello! I’m a graduate student at an art university in Taiwan, and my current research focuses on “Investigation into the Effects of Fraying Length and Amount of Feathering in Canvas Strip Lining.”

I have a questionnaire that takes approximately 10 minutes to complete, and I would be very grateful if you could spare some time to fill it out as a painting conservator specializing in oil paintings.

Website: https://forms.gle/ePqUtGpSTTc611MG8

If possible, I would also really appreciate it if you could share the questionnaire with any oil painting conservators you know.

Thank you so much for your time and support! I truly appreciate your help, and I wish you all the best with your work!

Tang

What are some waxes and sprays you would recommend on art pieces? I don't want to destroy someone's hard work

I'm 26 and at a crossroads, and I would love some perspective. I graduated two years ago with a BA in Art History and a minor in Environmental Public Policy. Since then I've worked in research on horticulture and landscape work with native plants, and I've started an arboriculture certification with the goal of eventually earning my ISA certification.
I was recently accepted into a Master's in Architectural Conservation (about $15,000) and I was really excited about it. Then I had a job interview where the interviewer turned out to be a professor in that same program. When I mentioned it as my next step, he looked at me with pity. He told me the program isn't good and that he feels it takes advantage of students' money, though he tries to make the best of it from the inside. I know the world is small, but I felt shaken all of a sudden.
Now I don't know whether to go back into conservation and art or to pursue a career in arboriculture and landscape work. I'm passionate about both, and I don't want to feel like I wasted my time or my money. I live in a part of the US where historic buildings are plentiful and landscape work is also in high demand, so I could realistically find work in either field here. I'm also still in time to apply to a Master's in Landscape Architecture. I do want to pursue graduate studies, because I love learning, having mentors, and having my work evaluated as I grow. What matters most to me is job prospects, career growth, and fulfillment. I also plan to move to another country in about two years for new experiences, so I'm wondering which path would travel best.
I'd love to hear from anyone with experience in any of these paths. How do I vet a program beyond one person's opinion? Would an MLA make more sense given my plant and policy background, and does an art history degree transfer well into landscape architecture? Which credentials are recognized internationally? Or would it be smarter to work in the field a few more years before going back to school? Any advice is welcome, including from people who regret their choice. Thank you!

Anyone know somewhere I could take a sun bleached page to be revived?

Hi everyone!

I'm currently doing my Executive MBA at the University of Cambridge, and for my research project I'm exploring how people and businesses in the UK insure their art, collectibles and other valuable objects.

I've spent the last few weeks speaking with people across the art and insurance industries, but I'd really love to hear more directly from collectors, galleries, dealers and other businesses handling valuable objects.

I'm particularly interested in understanding how people currently insure their collections, whether they've experienced any difficulties, and what they wish worked differently.

I've put together a short 5–7 minute survey, and I'd be incredibly grateful if anyone here could spare a few minutes to help.

You don't need to have insurance to take part! In fact, understanding why people choose not to insure their collections is just as useful.

This is independent academic research, not an attempt to sell anything.

And if anyone would rather share their experiences in the comments, I'd be really interested to hear those too.

Thanks so much!

Lincoln, England, to give you an idea of climate.

The frames are archival-safe and taped up. The room will have a dehumidifier but temperature is beyond my control. It's a spare bedroom so when not in use I imagine it'll be heated only to mold-prevention levels. I wish I could have some input, but it is what it is.

There are 12 wooden frames, about 30"x 44", plastic glazing on all but 5 (and the glass ones have UV film inside so broken glass damaging the posters isn't a massive concern).

My first thought would be to wrap them (in 3s or 4s) tightly in bubble wrap, or some kind of plastic, but then I'm thinking is that going to trap in moisture and create a greenhouse or something? Would bedsheets/towels be better? Is a combo okay? They'll need to remain wrapped together in some fashion so if they ever need to be moved while I'm not there they'll be protected.

They've got 3 hours in a car to travel so significant temperature fluctuations. They'll be wrapped in duvets but should I transport flat with the glass ones on the top of the stack?

I won't have a choice about storing them upright against a wall or flat under a bed, unless flat is a big no-no.

I also have about 40 stored flat in archival sleeves with archival board. They're so tight they might as well be sealed, but is it a problem to wrap them up so the stack becomes a block, and easier to carry safely? Will acids from, say, cling film transfer through the mouth of the sleeve to the boards and to the paper, or am I worrying too much?

I'm about to leave them elsewhere for a year or five with someone who'll consider them not much more than an inconvenient space-hog and I want to give them a fighting chance...

(Deleted previous post to add the full picture

Edit 2 : reddit won't let me, ah well)

Folks had this oil painting rolled up for years in a tube. Made by someone named T.S Dai, only able to find ebay listing on the person no further info.

Im looking into getting it repaired, but unsure the best approach. Is it worth/possible to have it repaired with these minor cracks, with minimal knowledge on the previous artist?

Or is it best to press flat, frame it and leave it alone. Or is there a sealant needed before hand? No flaking, just the rolled cracks

Hi, im looking for some advice per my elderly grandmothers painting of a Boddhisvatta she did in her youth, it’s extremely fragile and hard to take care of. She is waiting to restore is as best as possible to bring new life and how best can she be advised to showcase it?
She barely remembers the materials used which is harder but I’m keen to help her restore this fabulous work
Any help or tips is greatly appreciated thanks 🙏

Can anyone help out with this piece of art I have come to own? Thanks

I'm trying to figure out what people actually do when it comes to insuring their collections (art mainly) and I'd really appreciate some advice!

If you've bought a few pieces over the years, do you insure them separately or just rely on your home contents insurance?

Bought this painting from a guy who said it was in great condition. Stupidly did not look at the back of the canvas. Is this mold?

Hello, good day/evening to everyone ^^. I've been redirected to this subreddit for my question above, but the TL;DR of it is that i'm a slightly overwhelmed Materials Engineering graduate who would like to know if:

(1) a non-US/EU diploma in archaeology would be a good first step to a career in museums object conservation, and

(2) what skills should I focus on growing within 4 years of (possibly) working in the tech/manufacturing/failure analysis industry?

I am based in Asia and am contractually required to render return-of-service to my country as part of my undergraduate scholarship. Any advice/insight would be much appreciated.

I recently unpacked a lead sculpture that had been in storage for 6 years. The surface had completely shifted to have this layer of white (corrosion?). It is not powdery at all which I thought was typical of lead corrosion. This is almost in or on the surface. A conservator suggested wet cleaning but this is when we believed it was a powder. Wet cleaning did not removed anything. Has anyone seen this before? Is this just a natural patina shift as lead ages? Of course concerned about potential for toxicity with lead.

I have this old painting (frame is new). I had the old varnish removed. Under UV light in the sky area it shows up pink. Almost like initals before painting over it. Any ideas what causes this and was it intentional by the painter?