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Guideline 9.4

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== Guideline 9.4: All safeguards selected to fulfill the Conservation Requirements can be maintained for the duration of the exhibit ==
=== Why is proper maintenance of the conservation safeguards essential to fulfilling the Conservation Requirements? ===
If conservation features are not maintained in working order for the entire duration of the exhibit, then even the most sophisticated and costly safeguards will fail to protect display objects. It is therefore vital that all conservation features are properly maintained from beginning to end of an exhibit.
When deciding upon appropriate options for safeguarding objects, the exhibit team should consider:
* The length of the exhibit
* The expected wear and tear on conservation features
* Costs of upkeep and replacement
* Costs associated with staffing for maintenance and security. 
=== What steps can the exhibit team take to ensure conservation safeguards will be effectively maintained? ===
Ensure all maintenance costs are included in the budget: The exhibit team should calculate the cost of maintaining the selected conservation features to ensure there will be sufficient funds in the budget. Maintenance costs generally include:
* Qualified personnel: Exhibit staffing must be maintained at adequate levels; training may be required to ensure staff know security procedures; how to monitor the environment; and how to correctly replenish or maintain conservation features such as pollutant absorbers, lamps, and filters. 
* Housekeeping: Housekeeping is required to maintain an adequately clean and dust-free environment. Certain exhibits, depending on their design, may entail extra housekeeping costs. For example, the interior of exhibit case glazing must be periodically cleaned, which requires accessing the enclosures and possibly de-installing exhibit objects. Dioramas that include a natural setting with sand or vegetal matter must be kept clean to prevent dirt and debris from harming objects. (For more information on the safest choices for materials for exhibit props and settings, see Standard *.) 
* Maintenance of conservation equipment: All conservation technology — sensors, alarms, humidification/dehumidification systems, pollutant absorbing materials, air filters, special lighting — requires both monitoring and upkeep. 
Select conservation safeguards that are compatible with existing museum procedures and equipment: Conservation safeguards that are compatible with systems and technology the museum already has in place and for which staff have received training will be easier to maintain. For example, a new exhibit lighting system utilizing different fixtures and lamp types, filters and louvers can make the maintenance of a new exhibit area excessively complicated.
Category:Exhibition
Category: Exhibit Design
Category: Standards & Guidelines
Guideline 9.5

Back to STANDARD 9: The Design Planning Process
== Guideline 9.5: The exhibit design includes back-up conservation safeguards == 
=== When is it important to include back-up safeguards? ===
Whatever exhibit conservation strategies are chosen, there is the possibility that the well-engineered preservation feature or system will fail. The designer together with the conservator should therefore determine how long the exhibit could maintain stable conditions under a major failure such as a loss of electricity. Such projections can help identify whether equipment repair or replacement can occur quickly enough to prevent major risks to the collections and whether a backup safeguard, such as a second compressor or portable dehumidifiers, is required.
Backup systems and the inclusion of redundant systems incur an extra expense and must be justified. However, they should especially be considered for the display of highly significant or vulnerable collections, or exhibits in high-risk areas, such as areas with aggressive climates, a high risk of earthquakes, or high crime rates. 
=== What are some examples of back-up safeguards? ===
Conservation hardware and controls can be backed up with additional equipment or supplies: 
* Water pipe fire suppression sprinklers can be backed up with ABC handheld fire extinguishers
* The building’s HVAC system can be backed up with portable humidifiers / dehumidifiers
* Replacement parts that are the most likely to fail can also be kept on hand.
* A useful safeguard for highly moisture-sensitive objects is to install humidity controls in the exhibit building or room and then to provide a climate controlled display case that will continue to provide protection if the building controls fail.
Back-up safeguards need not be complicated. A useful back-up in earthquake zones is to put cushioning material on the floor to prevent falling objects from smashing.
Category:Exhibition
Category: Exhibit Design
Category: Standards & Guidelines
Guideline 9.6

Back to STANDARD 9: The Design Planning Process
== Guideline 9.6: The selected conservation safeguards are clearly documented and communicated to all project participants ==
=== What information should be included in the document describing the selected conservation features and strategies? ===
The document should include:
* A description of the specific strategies and conservation features selected to mitigate exhibit hazards
* The rationale behind the selection of each particular strategy
* Clearly defined responsibility for implementing each conservation safeguard.
The document should be circulated to all team members and relevant museum staff and included in the exhibition’s maintenance manual under the section on “conservation features.” [For more information on the exhibit Maintenance Manual, see Standard*.]
=== Why is it important to clearly define responsibility for implementing conservation safeguards? ===
Since hazard mitigation will often depend upon the coordinated efforts of a variety of exhibit and museum staff, responsibility for implementing conservation safeguards should be clearly communicated to all those involved. Especially in large institutions, a mitigation strategy may become the responsibility of several different people or departments. For example, a strategy to reduce pest damage may include changes in housekeeping, instituting an Integrated Pest Management Program (IPM), limiting food in the building, and prohibiting any events that introduce food (such as opening receptions) in areas close to exhibit galleries. These decisions would need to be translated into museum policy and communicated to all relevant personnel, such as housekeeping staff, the public relations department, and the staff responsible for buying supplies. 
=== Why should the document include the decision-making behind the selection of conservation safeguards? ===
Often times, during the production of an exhibit, the rationale behind the choice of particular conservation features is forgotten. This invites the risk of a different and less effective strategy being used in the final exhibit design. Also, misunderstandings can arise over how different elements of the strategy work together. For example, a museum may have agreed to the fabrication of an expensive climate-controlled case, but may decide to save money by foregoing the extra expense of pollutant absorbers, which are in fact essential to object protection. And if the reasoning that justifies a costly conservation feature is lost, then, should budgets need to be trimmed, these features can be the first to go. It is therefore important that project managers be informed in writing regarding such conservation decisions.
Category:Exhibition
Category: Exhibit Design
Category: Standards & Guidelines
Health & Safety: Key Elements for Creating a Risk Management Plan

__NOTOC__
Back to Health & Safety
<Br>Back to Main Catalogs Page
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Health & Safety Network Conservation Wiki 
Copyright: . The Health & Safety Wiki pages are a publication of the Health & Safety Network of the American Institute for Conservation. 
Some of the information included on this wiki may be out of date, particularly with regard to toxicological data and regulatory standards. New information on safety issues is continually published; therefore, resources outside of AIC should be consulted for more specific information. 
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The following procedures will help create a risk management plan for the safe handling of hazardous collection materials objects.
For information specifically related to pesticides, see Risk Management for Pesticide-Contaminated Collections.
==ARE YOU AT RISK?==
HAZARD vs. RISK -- An Important Distinction!Pesticides are inherently hazardous by nature. Risk is the degree to which that hazard will negatively affect your body’s systems. 
Disciplined reliance on OSHA recommended safe work practices, engineering controls, and proper training will help reduce your health risks. 
For example, formaldehyde (a carcinogen)poses low-exposure risk if handled with proper gloves and used in a hood by a person with safe work practice training.
==WHAT IS A RISK MANAGEMENT PLAN?==
A Risk Management Plan serves to protect persons from the risks associated with workplace tasks such as handling collections-based hazards inherent to or acquired by objects and specimens.Once the commitment is made to create proactive safety programs, the technologies of hazard control are well-developed, often inexpensive, and easily accessible.
==KEY ELEMENTS FOR CREATING A RISK MANAGEMENT PLAN==
* Hazard Identification
* Exposure Assessment
* Remediation and Decontamination
* Safety Protocols and Training
* Hazard Communication
Back to Health & SafetyBack to Main Catalogs PageCategory:Health & Safety
Health & Safety Guides

#REDIRECT Health & Safety: "AIC News" Articles and Guides
Back to Health & Safety
<Br>Back to Main Catalogs Page
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Health & Safety Committee Conservation Wiki 
Copyright: . The Health & Safety Wiki pages are a publication of the Health & Safety Committee of the American Institute for Conservation of Historic and Artistic Works. 
Disclaimer: The following list of articles and guides is offered for information purposes only. Some of the information included in the lists of published articles on this page may be out of date, particularly with regard to toxicological data and regulatory standards. More recent publications may include more up to date information, but there has been no attempt by the committee to review and update previously published articles in the AIC News or to exhaustively catalog current legal requirements and standards applicable to the profession. When using references from the publications listed, please use the most recently published articles on any particular topic. Also, because new information on safety issues is continually published, resources outside of AIC should be consulted for more specific information on toxicological data and regulatory standards. Many of the references listed in the links below as well as the Health and Safety Technical Resources for the Conservator can serve as resources for this type of information. 
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==Health & Safety Guides==
Beginning in 1998, the Health & Safety Committee of AIC prepared or commissioned special pull-out sections for AIC News. Those guides have been added to the wiki for commenting by site visitors and updates by the Health & Safety Committee. 
See a complete list of Health & Safety Articles in AIC News.
Please Note: Links will bring you to wiki page for the guide--some of the guides may have been updated and PDF versions of the original guide are also available.
*Revised OSHA Hazard Communication Standard Improves Chemical Label Information–Changes You Need to Know
*Heavy Metals, their Salts, and other Compounds
*Health and Safety in Emergency Response
*Fall Protection; Working Safely at Heights
*A Conservator's Guide to Labeling Hazardous Chemicals
*Health and Safety Technical Resources on Pesticides for the Conservator
*Air Monitoring Guide
*A Conservator's Guide to Respiratory Protection
*From Cradle to Grave: Waste Management for Conservators
*Set Up for a Safe Space: A Chemical Hygiene Plan
*Biological Monitoring in the Workplace
*Health and Safety Technical Resources for the Conservator
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<Br>Back to Main Catalogs Page
Holograms

Page Information	Page Information
Date initiated 	January 2012
Contributors 	Laura Wahl, Stephanie Watkins
__TOC__
==Holograms==
=== Identification/Visual Characteristics===
Subjects in holograms appear to be three dimensional. Most holograms require relatively high light levels for viewing. 
==== Support ====
May be glass, or plastic film (including PVC).
==== Historical ====
Derived from the Greek "holos", meaning whole message. Dr. Dennis Gabor was the first to imagine the theoretical possibility of the hologram in 1948. Early Gabor holograms were made with a single laser beam and are known as in-line phase holograms. True 3-D holograms could not be produced until more advanced lasers were made in the early 1960's.
==== Image Forming Materials====
*Silver Halide: Particles on the order of 10 –100nm allow for higher resolving power than standard photographic films. Standard film has silver particles sized 0.2-2.0 microns/200-2,000 nanometers (Vitale) Such small particles in holograms equate to ISO/ASA of .025-1.6. This low sensitivity to light means that specialized supports and stabilizers, like sand boxes, are used to allow for the recording of holograms. 
*Dichromated Gelatin: Due to lower sensitivity to light, it is most frequently used to mass produce holograms from a master, rather than for the original recording. 
*Photopolymer: Due to lower sensitivity to light, it is most frequently used to mass produce holograms from a master, rather than for the original recording.
*Coating Materials: Reflection holograms on glass must be painted or coated on the verso to prevent transmission of light. Krylon paint (spray paint) has been used. Pressure sensitive adhesive (probably acrylic?) UV protecting films may also be applied to the recto (products such as MacTac brand) 
*Color Holograms: Color in holograms is formed through a combination of development techniques, differing silver salts, using different colors of lasers, and/or by sandwiching three layers of holographic materials recorded with red, green, and blue wavelengths of light (recording of standing waves, similar to Lippman process in photography)
=== Conservation ===
===References=== 
CAMEO, Hologram 
Wikipedia, Holography
Wise, Andrea. 2016 (August). 'Transparent things, through which the Past Shines': Investigating Holograms in the Collection of the National Gallery of Australia. UK-Routledge-Taylor and Francis Group and Washington, D.C, USA: Journal of the American Institute for Conservation, (55):5, (176-185). 
Back to PMG Photographic Processes
Back to Photographic Materials Main Page
Category:Photographic Materials
Humidification

__NOTOC__
200px|thumb|right|Paper document in a simple humidification chamber. Image courtesy of the Irvington History Center
==Related Terms==
=== Synonyms in English ===
=== Translation ===
English 	humidification
French 	
Spanish 	
Portuguese 	
Italian 	
German 	
Arabic 	
Chinese (Traditional)	加濕
==Discussion==
==References==
Category:Humidification
Category:Lexicon
Return to List of Lexicon Terms
IMA Teacher Workshop

== IMA Teacher Workshop Page ==
On Friday, May 31st we're going to be visiting the Indianapolis Museum of Art to meet with some local teachers and talk about using conservation perspectives in classroom (or in-gallery) teaching. We'll be in Indy for the American Institute for Conservation's annual conference, where we're also presenting a talk on using digital media to communicate context for artworks. We are very grateful to Heidi Davis-Soylu, Jessica Watson, and Richard McCoy at the IMA for all their support of this workshop and we are really looking forward to meeting all the teachers!
Below are some links to web content related to the objects we'll be discussing in the galleries:
===Bellini and Mainardi: Renaissance Panel Painting===
Mainardi Interactive pages focus on a panel painting by Sebastiano Mainardi, answering questions like "How was it made?", "What happened to it?", and "How do we save it?" An exhibition during the conservation of this painting in 2008 allowed visitors to watch the conservators at work.
The conservation of the Mainardi panel painting is explained in this 9 minute video.
Bellini Interactive pages describe the materials, investigation, condition, and conservation of paintings by Giovanni Bellini, with a focus on the way different imaging techniques provide critical information on the making of and condition of the paintings.
===Robert Indiana===
Video of Conservator Richard McCoy talking about Robert Indiana's Numbers 
Another video where Richard talks more specifically about the conservation/restoration of these works
A blog post interview with Richard about the exhibition
A fun video from 2006 documenting the deinstallation, refinishing, and reinstallation of Indiana's iconic LOVE sculpture.
===African Art===
Short videos by conservator Kristen Adsit:
Tusian helmet mask
Yoruba royal headdress
Edo terracotta head
Fon metal figure
===Other interesting blog posts by IMA conservators===
Hello from Down Here
Burn Out or Fade Away: fading and colorfastness of pigments and dyes
Less is More: examination and assessment of a painting using infrared and xray
===General information about conservation===
The American Institute for Conservation Resource Center has links to a number of useful pages on their site. Stories in Conservation highlights interesting projects, while the FAQ answers general questions about conservation; Caring for your Treasures presents an overview of how to care for common types of art objects.
The K-12 Educational Outreach page presents a selection of interesting sites and links as well as information on how to contact a conservator in your area interested in outreach to schools or working with students and teachers. Additional links are going up on the conservation wiki (see link at the bottom of this page). Please help us make these resources better - let us know what you'd like to see!
Back to K-12 Resources
Ideas and Examples

Back to Choosing and Using Materials
Please send your ideas about reducing, reusing or recycling materials to sustainability@conservation-us.org
The EPA Pollution Prevention Act suggests that we first consider reducing use. If use reduction is not an option, the next goal should be to minimize amounts of any material and to reuse any waste. If reuse is not possible, then recycling should be the final and last option. Pollution that cannot be prevented or recycled should be treated in an environmentally safe manner. (EPA Pollution Prevention Act, Revised December 31, 2002) 
We need to look at both what can be recycled and what conservators and institutions can focus on to reduce the amount of waste produced. Three key areas are consideration of methods and materials used in treatments, packing and display waste, and waste disposal. Wendy Jedlicka, designer of packing products says, “Maybe there's a better way… to think about packaging. How about this? Assume that whatever you produce won't end up being recycled, or even sitting in a landfill. Assume that it will be incinerated, says Jedlicka reflecting on the garbage burner just down the street from her office. "I think of it that way: Whatever I design, I'll be breathing." (Fast Company blog) 
Some areas in which conservators can reduce their materials use:
More simple tips:
This wiki was created and is maintained by the Sustainability Committee (formerly the Committee on Sustainability in Conservation Practice). It is intended to provide information for AIC members and other interested parties. Any treatment should be carried out by a qualified conservator(find a conservator ). Please send comments and suggestions for sustainable practices to sustainability(a)conservation-us.org.
Ideas for Tap Water Use in Conservation Treatments

Back to Purification Methods and Environmental Considerations
Tap water quality varies by region, and if contaminants are a concern it can be tested. The examples here assume standard drinkable tap water in the United States. 
* Rinsing silver
* Rinsing salt contaminated ceramics and stone, except for the last few rinses
* Inpainting on fill material
Other examples? Email us at sustainability@conservation-us.org
This wiki was created and is maintained by the Sustainability Committee (formerly the Committee on Sustainability in Conservation Practice). It is intended to provide information for AIC members and other interested parties. Any treatment should be carried out by a qualified conservator(find a conservator ). Please send comments and suggestions for sustainable practices to sustainability(a)conservation-us.org.
Incorrect Temperature

=Definition=
The detrimental effects of incorrect temperature (either too high or too low) are often observed after considerable time has passed and so the slow deterioration that results is often underestimated. Temperature is a measure of heat energy. High temperatures promote faster chemical reactions and so the overall degradation of organic materials occurs more quickly. 
Temperature is also important in that it directly affects relative humidity, given the same moisture in the air. If the temperature goes up, the relative humidity goes down and vice versa. A fluctuating temperature leads to a fluctuation in relative humidity.
=Recommendations=
:*Enough heat should be provided to keep the relative humidity below 60% to prevent mould and discourage infestations and corrosion.
:*A stable temperature helps prevent relative humidity fluctuations and the damage they cause. The optimum temperature range for museum objects is often given as 68-72 degrees F. 
:*High temperature can cause softening of meltable materials like waxes and resins, and general aging of organic materials, which leads to embrittlement and weakening.
:*High temperatures can also promote faster desiccation of organics leading to loss of flexibility and cracking. Composite objects (those composed of two or more types of materials) have different rates of thermal expansion and contraction and this can cause physical damage resulting in cracks and splits along join lines. 
:*Generally, cooler temperatures are beneficial to most artifacts. Any temperature above that required for human comfort can be viewed as too high. However, while cold storage is a good preservation technique for some types of unstable collections, and most collections would benefit from cooler temperatures than normally used in museums, temperatures that are too cold can cause embrittlement, hazing, cracks in other types of artifacts, in particular those with resins and varnishes. 
:*Cultural institutions often have to compromise between the temperatures that are best for the preservation of the collection, what is economical in terms of equipment and energy policy, and what is best for the comfort of staff, and visitors.
=Resources and Further Reading=
*Environmental Guidelines
*Environmental Controls
*Environmental Monitoring
Category:Preventive Care