Can I Sign South Dakota Work Order

Can i document type sign work order south dakota

the conservators from the Midwest art conservation center are here to conduct what's called a conservation survey of our works on paper collection this will help us to identify conservation and preservation priorities within the collection so that we can ensure that the works are available for exhibition research and study the museum since its opening in 1970 has acquired over 7,000 works of art of that collection 1800 constitute works on paper one of the things that the conservators are doing is helping us to identify what needs to be taken care of so that the works on paper are available for future generations we are surveying that is we are examining approximately 800 works of art in the works on paper collection South Dakota Art Museum the 800 pieces are representative sampling of the entire paper collection for each work that we examine we fill out a survey sheet basically we document the type of paper the work is on the medium that is what are the materials used to create the design and then most importantly we identify the condition of the object does it have tears are there pressure-sensitive tapes on it are there losses or holes is it discolored from contact with acidic materials has the ink or other medium faded and after we've documented specific conditions we assign a priority to that object in terms of its need for attention from a conservator and what this does is it allows the institution to develop a logical plan for treating the needs of the individual objects in addition to examining for condition we also identify housing that is what kind of mat board is the work secured into if any at all does it require extra support because of size or weight for example the process is we are given objects item item we look at the object we have our sheet and we note all of the condition issues that we see on the object on the sheet at the end of the survey there will be approximately 800 sheets and in addition to examining the individual objects we also you know address questions put to us about kind of more general aspects of care we are very fortunate to receive funding from the Institute of Museum and Library Services under their museums for America grant program the total project is costing us 106 thousand dollars of which we received fifty-three thousand dollars and some change from the granting agency one of the benefits of the survey is that we will be able to address specific issues related to specific works of art these are two works by the artist named Paul go ball whose archives is here at South Dakota Art Museum these are wonderful illustrations and really beautiful it was a real treat to be able to look at fifty of these pieces these works in many ways are in very good condition overall however there are some condition issues that are specific to the materials and techniques that goble used for example in this piece here you'll notice that there are pieces of what we call bark paper attached to the paper support and which create part of the image this is paper made to simulate bark because goble is using it to depict tree a tree a fallen tree these elements are separate from the what we call the paper support as I said and they have been attached with probably a rubber cement type adhesive the adhesive fails and doesn't work anymore and as a result of that the element detaches and you can see in this case this pace has come free and it's left behind it a very discolored adhesive film and there is the same on the reverse of this LOL s physical so obviously this is a higher priority item because we don't want to lose this significant element that's very much part of the design so on what we would do to take care of this condition problem is we would first clean the residues from the paper and then reduce them on the back of the bark paper element and then reattach using a more secure museum-quality adhesive this other work here on in it you can see in this beautiful big red Sun on that there are areas where there are kind of jagged areas of what we call loss what's happening there is that the ink has not bonded well to the underlying paper and is flaking away from that paper what it's leaving behind is a staying kind of a lighter colored red stain that has been absorbed into the paper but the brilliant dark red ink actually sits on the paper so every time the papers handled or even in response to changes in temperature and relative humidity that ink is destabilized and it will crack and come away from the paper support the next step for the South Dakota art museum will be to begin planning for netting the works that is putting them into good quality museum quality housings those that are not yet matted the next step will include establishing a plan for providing conservation treatment two objects beginning with those that have the highest priority assignments after we are done with the survey then we take each of the individual recommendations that the conservators have provided for us and we will start implementing those recommendations in some cases we have to provide a rigid support underneath them and so it's a matter of inserting a rigid support in some cases there works that need conservation treatment and so what we'll have to do is seek funding to implement those that conservation treatment this particular grant allows us to provide internships to two students for two years so we have two interns working on this project I have a year left here at South Dakota State and afterwards I'd like to go into possibly Museum Studies and so what I'm learning with the coal conservation project is just picking up this information again soaking it up like a sponge so that hopefully if i'm introduced to situations like this in the future i'll be able to kind of come up with the you know remember this information and it also is opening my eyes a little bit to different fields in Museum Studies you know not only just the going through the conditioning reports which is what I've been doing but then the conservation asked but aspect of it and kind of just is rounding out the entire field a little bit more before the conservators arrived are one intern Samantha and I spent three months unframed all of the works the the works had previously been stored in frames and so we had to remove them from the frames and then release them from their hinges I worked exclusively with the carline collection which is a collection of prints and so I haven't really gotten an opportunity to see what else is in the collections here at the Museum and so being able to go through these works on paper has introduced me to all the different artists that are also represented here and just going through it's so impressive and in the situation of being able to be there with a work of art right there in front of you as opposed to behind glass or having to stand you know a foot or two away it's just such a different experience it's so surreal we've also digitized the entire collection and so we now have high resolution images of of all the works one big thing that I've really walked away with is when an artist creates something and and he or she puts it in a frame or puts it in some way to display it that's not the end you know our torque as cheesy as it is to say is almost like a child you know it's created and then you have to nurture it and you have to grow with it because an artwork a piece of artwork is not just it's not done you it's constantly like paper expands that's a big thing that we're learning and so as cheesy as it is say I'm really glad that I get to be a part of you know the upbringing of these works of art when the survey is completed then both interns will be on staff and those interns will be working with me to implement the initial recommendations made by the conservators we've also had a number of volunteers are some members of our museum guild have helped with the project they specifically helped gather information about the works by Paul gobo you really get to study the pictures and particularly with this project they were not under glass or under any coverings so you really had a great opportunity to examine the colors and the details that sometimes you just miss when they're under glass and you can't peer at them literally stare at them it was a great opportunity to see the detail the affection for each piece that was brought out for the conservators to look at was just that was amazing to see they genuinely cared about each thing that was brought out on paper and it's obvious that the South Dakota Art Museum cares for each of those works on paper too so I think the people at South Dakota can rest assured that we have a great museum here that is going to preserve those things into the future this project is part of a long-term process that this museum started back in two thousand we have been very proactive in what's called preventative preservation rather than reacting to something taking place at the time we are proactive and trying to prevent things from happening so this project is another example or demonstration of our efforts to be proactive in our preservation activities it's been a large pleasure actually to work here because this institution demonstrates such a high standard of collections care and the very fact that we're doing the survey is an indication of that