2020 Annual Business Meeting with SPECIAL PRESENTER Monona Rossol
ANNUAL MEETING and SPECIAL PRESENTER Monona Rossol
Saturday July 11th, at 10:30 a.m.
The BAACG annual meeting-this year via Zoom will begin at 10:00 and Monona Rossol will follow at 10:30.
The Bay Area Art Conservation Guild is very pleased to announce our first virtual presenter, Monona Rossol, who specializes in healthy and safety issues for the art and conservation communities. A chemist and industrial hygienist, she has been instructing conservators for decades on a variety of safety measures and safe practices. As the founder and President of ACTS (Arts, Crafts and Theater Safety), Ms. Rossol is extremely knowledgeable in the challenges conservators face, particularly in this time of pandemic. She will present an hour-long talk on personal protection, chemical disposal, respiratory protection, and PPE,with a moderated Q & A period afterwards.
Please RSVP to This email address is being protected from spambots. You need JavaScript enabled to view it. .
This event is first come registration with limited spots. We anticipate a high demand for this lecture and will consider creating a wait list if needed.
After registering for a spot, credentials and password will be sent prior to the meeting.
The event is free. BAACG is accepting donations for this event and will monetarily support Ms. Rossol’s ACTS group. Monona continues to devote her time and energy to keeping us safe and any donation helps keep that endeavor going.
If you are unable to attend our Annual Meeting or would like to have a more complete education, Monona is offering a class:
ART & THEATER SAFETY COURSE, AUGUST 24-28TH REGISTRATION
For more information contact This email address is being protected from spambots. You need JavaScript enabled to view it.
About the Speaker
Monona Rossol was born into a Vaudeville family, began working as a professional entertainer at age three, and continues to perform occasionally to this day. She has a BS in Chemistry with a minor in Math, an MS and MFA with majors in art and a minor in music. Monona worked seven years as a research chemist for the University of Wisconsin and a year with an industrial research laboratory. From 1977 to 1987, she practiced industrial hygiene at the Center for Safety in the Arts in New York, a group which she co-founded. In 1987 she founded Arts, Crafts, and Theater Safety (ACTS) for which she works today. She has been a full professional member of the American Industrial Hygiene Association since 1984. Since 1995, she been a Safety Officer for Local USA829, United Scenic Artists, IATSE. Retained in 2017, she is the Safety Consultant for SAG-AFTRA. She has been the safety consultant in the planning of over 80 buildings, specifying ventilation and safety features. ACTS has three architectural awards for Monona’s environmental planning and in 2020 she became a member of the ACGIH Committee on Industrial Ventilation. She has consulted in the US, Canada, Australia, England, Mexico, Portugal, the Netherlands, and the United Arab Emirates. She has written nine books, one of which won a 1996 Choice Outstanding Academic Book Award from the Association of College and Research Libraries. Two of her books are used as college texts today.
2019 Annual Business Meeting
On Saturday July 13, 2019 BAACG held its Annual Business Meeting at the new San Francisco Airport Museum. Guild members met, first, for a private tour of the new SFO Museum facilities hosted by Museum Conservator Alisa Eagleston-Cieslewicz. Alisa led us through the building’s impressive storage facilities, massive prep and mount-making spaces, and well-appointed conservation labs. In the latter we ogled ongoing treatments such as a 1960’s era cut-away model of United Airlines DC-8-20 jet, for which Alisa had had to make and attach replacement limbs for tiny passenger and crew figures in their tight and awkward miniature cabin.
The tour was followed by a buffet lunch provided by BAACG board members. Over lunch, we held our Annual Business meeting, during which retiring board members Gawain Weaver and Jonathan Fisher shared what their time in the Guild had meant to them, and new board members Candis Griggs Hakim, Jena Hirschbein, Karen Zukor, and Justine Wuebold were welcomed. Upcoming events were discussed, and recently passed founding BAACG member Roger Broussal was remembered.
Members then moved on via private SFO Museum bus to the airport terminal, where we enjoyed a guided tour of several exhibits.
Bay Area Conservation History: Hindin Article
History of Conservation in the Bay Area
Recently I received a copy of an article on conservation history published in the Journal of Art Historiography, by Seth Adam Hindin, “How the West Was Won: Charles Muskavitch, James Roth, and the Arrival of ‘Scientific art Conservation in the Western United States”, number 11, December 2014. I always welcome efforts to relate how the work of individuals in solving conservation problems affects other practitioners and how research by scientists can inform our practice. This is a well researched and written work, the author referenced a considerable amount of primary sources and builds a remarkable narrative. The spread of ideas and their acceptance is affected by culture and personality, that is where a person is born, the status of a field of work, how it is regarded as a possible element in the ideology of a society and the means by which individual discoveries can be communicated and understood at any one time. A common example of this is Gregor Mendel who discovered a number of significant processes in genetics but failed to be understood in his time. Some students of history have argued that Mendel’s social position inhibited the dissemination of his discoveries, others that he presented his argument in a statistical format which was unfamiliar to his contemporaries.
In conservation the interplay between the practitioner of treatments that are restorative (what we call today conservation) has always been restricted and defined by owners, art historians and a variety of connoisseurs, both institutional (e.g. curators) and private (dealers, and simple enthusiasts).
In fact, one of the most comprehensive analyses of the role of conservators in treatments and the restrictions placed upon them is Eric C. Hulmer’s The Role of Conservation in Connoisseurship (unpublished dissertation, University of Pittsburgh, 1955), though Caple has updated this conflict in his book, Conservation Skills (2000).
The article produces a narrative on the influences on art conservation in the west by a number of academic institutions on the East Coast of the USA. While the primary locations for the two men discussed are Texas and Missouri, the thesis breaks down at that point. While one of these individuals, Charles Muskavitch had contact with the ill fated conservation program at UC Davis and established himself at the Crocker Museum, neither presence had much effect on conservation west of St. Louis. Nevertheless, the article is a much needed investigation of how conservators influenced each other and learned their trades in the immediate pre-WWII and post WWII eras.
What is missing is a more focused examination of East Coast practice and theory which is presented as fairly uniform. One might contrast this view by Hindin with that by Laurence Kanter (“Some Early Sienese Paintings: Cleaned, Uncleaned, Restored, Unrestored. What Have We Learned?”Yale University Art Gallery Bulletin, Series, Time Will Tell: Ethics and Choices in Conservation, (2010: 46-65). Kanter speaking of the same time period as Hindin represents a conservation field blustered by fashion in practice and not the science Hindin portrays. Kanter describes the destruction of the paintings treated in the pursuit of subjective goals which he called an “archaeological approach” but really means the practitioners justified cleanings that removed all identified “overpaint” to exposed some idealized original surface. In my training in archaeology we were taught that every site was destroyed by excavation and that scientific digging required extensive documentation and publication. Perhaps the Yale conservators had a different view. Kantor describes American conservation practice of the time by use of a quote from Giovanni Previtali, from 1967:
If we wish to imagine a sadistic restorer (or simply one from America) ruthlessly attacking the Magdalen frescoes until they were reduced to a mere shadow, we could be certain to achieve something very similar to another Peruzzi Chapel “after treatment.”
But while Previtali’s description was not unique, it like Hindin’s article paints too broad a bush and overrepresents certain museum practitioners and their influence. Certainly people like George Stout were important, and his book like Plenderleith’s affected practice across the globe (Keiko Keyes told me that Plenderleith’s book was what drew her to conservation). I go over the diversity of publications in my 1989 article, “Textbooks in Conservation: some concerns,” The Bulletin of the Australian Institute for the Conservation of Cultural Materials, v. 15, n. s. 3&4, pp51-8. What also is missing from Hindin’s article are the individual contributions of European conservators who relocated to the USA, people like Ruhemann and his 1968 book. One aspect of Hindin’s paper that I find disturbing is his retelling of criticisms of Muskavitch’s work. These are entirely subjective and like that of Previtali (but unlike those of Kanter) are not accompanied by any standard or analysis. But this is to be expected as such criticisms have been the usual business in conservation along with snide remarks of people’s competency. Though in recent years standards to evaluate treatments have been forthcoming (as I suggested in my 1989 article and as I performed with one example in my 1997 article on ceramic and glass conservation in Studies. I had hoped when Reviews in Conservation appeared that we would have a venue for such studies, with reviews of literature and treatments over time. The first issues stoked this impression with numbers 1, 2 & 3 containing majority articles on such topics and most articles on treatments. But by 2008 Reviews had retreated to the same fare as JAIC and Studies with most articles on art history or scientific analysis with little reference or application to treatment. There have been numerous articles over the years that have reviewed treatments in limited fashion, as in the collection published by the British Museum as Occasional Paper n. 65, Early Advances in Conservation, edited by Vincent Daniels in 1988, and the 2003 issue of the JAIC that contained a number of articles reviewing treatments. However, this is far from a systematic analysis of long term effects or standards of outcomes in the context of practitioner variation in treatment application as we find in other fields of science.
For the West Coast our history is yet to be written and I would hope that someone will attempt it. At the foundation of our the Western Association of Art Conservators in 1975 founders George Stout, Richard Buck and Ben Johnson were all present. I do not know why Buck was there and have no knowledge of any work he did on the West Coast. I think many practitioners here were self taught or apprenticed to self taught individuals using the available literature. For myself at the De Young Museum Henry Rusk (trained as a painter at the San Francisco Art Institute in the 1920s) was the conservator in the 1930s to 60s when he trained a surgical nurse, Terri Picante who I worked with in the 1970s & 1980s after having trained under Bob Schenk (who trained at the Field Museum) at the California Academy of Sciences in the early 1970s but introduced to conservation of archaeological materials by J. Desmond Clark at the old Kroeber Museum at UC Berkeley from 1966 to 1970. Picante told me she did some work with Stout when he came to the De Young but all the conservation records for the De Young were destroyed by a conservator from the east who was hired to replace Picante by Charles Moffett, a curator who came to the De Young in the mid 1980s. I tried to save them but had no authority to do so. I think that other than by former colleague Tony Rockwell (who trained with the Kecks and worked at the SF Modern in the 1970s, the other major East Coast influence was in the formation of the Western Regional Paper Conservation Laboratory at the California Palace of the Legion of Honor in the late 1960s by Roy Perkinson.
