Tune into AIC’s Cost Effective and Sustainable Packing, Moving, and Storage Webinar on Sustainable Conservation

AIC is hosting two webinars on sustainable conservation. On December 1 at 2pm EST, I’ll join Simon Lambert and T. Ashley McGrew in talking about sustainability in packing, storage, and long-term preservation management. Simon will discuss Re-Org, a program of ICCROM and UNESCO that helps cultural heritage collections improve collection storage with available materials. Re-org provides guidance to users to determine what collections need tighter environmental parameters, so that investment in precise preservation environments can be saved for those collections with the greatest need. Ashley will discuss ways to introduce sustainability into the packing and shipping processes, including the use of reusable crates and shipping methods. I wrap up the presentation with some big picture ideas about how the way we make preservation, and therefore collection access happen is a key part of organizational sustainability. I’ll discuss how organizational mission can be sustained through smart preservation work by discussing smart ways to work together, our work spaces, support of our staff, and how we should get the public involved by making them aware of the challenges we face in preserving cultural heritage.

Join us on Dec. 1 at 2pm EST. Visithttp://www.conservation-us.org/education/education/current-courses/sustainable-conservation-webinars#.Vlj1QdBqna0

Save money and purchase two webinars – the second sustainable conservation webinar is on Dec. 8, and discusses Life Cycle Assessments, specifically focusing on loans.

This program is supported by a grant from The Andrew W. Mellon Foundation and donations from members of the American Institute for Conservation and its friends.


ARCS and PACCIN at New Orleans: Collections Stewardship’s Bright Future

Originally published at rebeccafifieldpreservation.com.

Lots of folks go to New Orleans for conferences. Within the distinctive streets of the French Quarter, it’s not uncommon to trip across people tagged with conference badges. The overtones of business lend an air of “networking” to the nightlife, though the line between tourist and conference-goer in New Orleans is rather thin. I saw at least 2 other conferences sharing the city with the conferences I was attending, the Association of Registrars and Collection Specialists (ARCS) and the Preparation, Art Handling, Collection Care Info Network (PACCIN).

That all being said, I am thrilled to belong to these two organizations that contribute to collections stewardship. Still in the founding stage after separation from the American Alliance of Museums (AAM), the ambition of the two groups is energizing.

PACCIN hosted an organizational summit at The Old Mint Museum on the Esplanade on November 12, 2015. Members in attendance included preparators, registrars, conservators, and others. The morning consisted of a strategic planning-style exercise, in which breakout groups suggested ideas around 5 topics of importance distilled from an earlier survey. These topics are: 1) Professional Structure related to Certification & Guidelines, 2) Membership, 3) Training, 4) Programs, and 5) Professional Development.

After the discussions, breakout members placed 3 green dots next to their issues of greatest importance. The afternoon session went live via webcast to broadcast findings of the morning session and receive feedback from the online audience. Resources were important, as was professional recognition of contributions from preparatory staff. Titling and how that reflects training and responsibilities served as a linchpin to many of the other discussion topics. There was significant interest in certification.  It will be interesting to see PACCIN develop their own professional identity, and the importance they place in such an activity. One audience member stressed “creativity is at our core.” I couldn’t agree more.

Brilliant construction vibration monitoring and mitigation session led by Merv Richards, National Gallery of Art. Here, W. Robert Hannen runs a vibration perception demo for the audience. Collaboration between conservation and registration at its best. Photo: RL Fifield, 2015.

Brilliant construction vibration monitoring and mitigation session led by Merv Richards, National Gallery of Art. Here, W. Robert Hannen runs a vibration perception demo for the audience. Collaboration between conservation and registration at its best. Photo: RL Fifield, 2015.

On November 13-15, ARCS offered an exciting program of talks and events. I started out Friday morning right by speaking to the general session of 680 participants about fostering emergency preparedness at their institutions. Other talks focused on Airfreight, CITES, construction vibration monitoring and mitigation, insurance, crowd-sourcing cataloging, and so many other aspects of collection stewardship. Mark Schlemmer, Associate Registrar for Collections at the New-York Historical Society and the voice behind #ITweetMuseums led conference attendees in thrilling rounds of twittering. Brilliantly, the conference started out with a short demonstration about how and why to twitter. You may access the material by using the hashtag #ARCSconf.

The ceiling at Fritzel's European Jazz Pub. Photo: RL Fifield, 2015.

The ceiling at Fritzel’s European Jazz Pub. Photo: RL Fifield, 2015.

I split an AirBnB in the back of a shotgun house in the Marigny with a couple of colleagues. I loved the walk to the conference hotel in the morning; the walk seemed to increase in distance as the conference continued. And the nightlife; well, let’s just say I’ve never seen dancing like that at other professional conferences I’ve attended. I hear it is at least a 40-year tradition among the registrars. We ate, we heard great jazz, we cut the rug. Networking, right?

I am honored to serve on ARCS Advisory Council, and as the Chair of the American Institute for Conservation’s Collection Care Network, I see a great future for the collaborative voices of collection stewardship. Stay tuned for great initiatives from PACCIN, ARCS, and AIC.


Off to New Orleans: ARCS and PACCIN conferences



I’m traveling to New Orleans for the Association for Registrars and Collection Specialists (ARCS) conference and the Preparation, Art Handling, Collections Care Information Network (PACCIN) summit. Both ARCS and PACCIN represent the interests of preservation practitioners, including art handlers, registrars, collection managers, and other allied professionals. ARCS held a legendary conference two years ago in Chicago and the New Orleans conference again offers a great line-up of speakers and networking events (I’m on the schedule!). PACCIN is holding a summit to identify key challenges for preservation practitioners, including training, professional development, and advancement. As the Chair of the American Institute for Conservation’s Collection Care Network, I am thrilled by the work these energized organizations are undertaking in support of the preservation of cultural heritage. I last visited New Orleans after my wedding in 2012, so I’m happy to be back.

See you there.

Visiting Living with Hurricanes: Katrina and Beyond at the Louisiana State Museum in March 2012.

Visiting Living with Hurricanes: Katrina and Beyond at the Louisiana State Museum in March 2012.


The Impact of Aging Infrastructure on Health

Ron Nixon’s New York Times article “Human Cost Rises as Old Bridges, Dams, and Roads Go Unrepaired” [Oxford comma mine] conveys how our society is sagging under lack of maintenance and repair. While bridges collapse spectacularly, illness from aging water management systems is also taking its toll. Even classical societies realized the basic need for clean water. We are fully aware that cultures without access to clean water are open to risk, let alone obstacles in achieving excellence. And yet, with our water systems at a remove from much of our houses, we are unaware how underinvestment is opening us to risk.

I recently moved to the Hudson Valley and now live near an aging interstate overpass. It is quickly becoming an infrastructure artifact. Tiny rusting metal Left Turn “Only” signs are pasted onto the concrete above so as to nearly be invisible to the driver. When I pass underneath, I muse where on the schedule lies our bridge’s next renewal, or at the very least, inspection.

Aging infrastructure as relates to rail has never been far from my mind. Railroads, struggling under archaic regulations and under-funding to the benefit of oil-industry fueling highways and airlines, are choked with rail traffic. This slows the economy. In the end, the question is not is there enough work; the problem is who gets the credit. I have always had a problem with the fact that in order to take advantage of highways funded by taxpayers, you must make a personal investment into private industry in purchasing and maintaining a car.

I thankfully still can take the train fairly easily here. Poughkeepsie, for all its struggles, has beautifully renewed its New York Central station. I can be into NYC in about the same time as I can drive there. I think this can be a great time for rail. Perhaps one needs to look at the reorganization of Detroit. Do we have the capacity, and does it make sense to repair all the highways that were created? Is it more feasible to ally behind expanded rail lines for certain functions? Who are those investors willing to take the risk? As a member of the slender sliver than makes up Generation X, I live much in the shadow of the ponderous Millennial generation. I admire their noted move toward cities and towns and burgeoning use of public transportation. Stan Greenberg‘s new book American Ascendant indicates that apparent gridlock now is the last throes before a social revolution in our country. Infrastructure is the linchpin in our renewal and must be crafted for the future, not just repaired.

The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. "P. R. R. shops’ Altoona, Pa. interior of western round-house." New York Public Library Digital Collections. Accessed November 7, 2015. http://digitalcollections.nypl.org/items/510d47e0-9d75-a3d9-e040-e00a18064a99

The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. “P. R. R. shops’ Altoona, Pa. interior of western round-house.” New York Public Library Digital Collections. Accessed November 7, 2015. http://digitalcollections.nypl.org/items/510d47e0-9d75-a3d9-e040-e00a18064a99

Thomas Bewick, Newcastle Wood Engraver (1753-1828)

Oil painting on canvas, Thomas Bewick (1753-1828). Cherryburn, Northumberland, National Trust. NT 530359.

Oil painting on canvas, Thomas Bewick (1753-1828). Cherryburn, Northumberland, National Trust. NT 530359.

In digging through the British Museum online collection database this week for a project, I tripped over the wood engravings of Thomas Bewick (1753-1828). Operating mostly in Newcastle for his entire career, Bewick’s rural upbringing led to an interest in natural history. Bewick used metal engraving tools to carve end-grain boxwood blocks, resulting in wood cuts of exceptional durability and detail.[1] Interestingly, when having his bust made, Bewick insisted on being depicted not in a toga, but in his everyday dress and with smallpox scars depicted. Bewick’s tooled blocks were so intricate they challenged printers in their correct use, so rendering himself accurately was of great importance.



Book illustration from Oliver Goldsmith's 'Mother Goose's Melody' (London: 1781, p.37). Trustees of the British Museum. Accession Number 1882,0311.3817.

If this image had sound, it would be “weeee!” Book illustration from Oliver Goldsmith’s ‘Mother Goose’s Melody’ (London: 1781, p.37). Trustees of the British Museum. Accession Number 1882,0311.3817.The image that drew me into Bewick’s work was the realistic depiction of a woman swinging a child by the hands, suggesting squeals of laughter.

You can search the over 3,000 prints made by Bewick and family in the collection of the British Museum online. A 2013 publication, Thomas Bewick: Graphic Worlds by Nigel Tattersall, focuses on the work Bewick produced for hire, such as book illustrations, trade cards, bills, and medals. The book is readily available online.  Tattersall also produced a three-volume catalog of Bewick’s work in 2011, The Complete Illustrative Work of Thomas Bewick with 1,200 black and white illustrations.

Book illustration from Isaac Watts' 'A Choice Collection of Hymns, and Moral Songs' (Newcastle upon Tyne: 1781, p.11). Trustees of the British Museum. 1882,0311.3923.

This image struck a chord with my Methodist upbringing. Enjoy the variety of ways the women wear wear their bonnets with their cloaks: on their hoods, under their hoods, and without their hoods. Book illustration from Isaac Watts’ ‘A Choice Collection of Hymns, and Moral Songs’ (Newcastle upon Tyne: 1781, p.11). Trustees of the British Museum. 1882,0311.3923.

Another tender image from Oliver Goldsmith's 'Mother Goose's Melody' (London: 1781, p.30. Bewick was the father of 3 girls and a son, who followed him into the printing business. His daughters wrote his memoir. Trustees of the British Museum. 1882,0311.3822

Another tender image from Oliver Goldsmith’s ‘Mother Goose’s Melody’ (London: 1781), p.30. Bewick was the father of 3 girls and a son, who followed him into the printing business. His daughters wrote his memoir. Trustees of the British Museum. 1882,0311.3822

Nice kitchen interior and garters in this illustration from Fable of The Countryman and the Snake from 'Select Fables' (Newcastle: 1784). Trustees of the British Museum. 1882,0311.2682

Nice kitchen interior and garters in this illustration from Fable of The Countryman and the Snake from ‘Select Fables’ (Newcastle: 1784). Trustees of the British Museum. 1882,0311.2682


[1] Hugh Dixon. 2010. “Thomas Bewick and the North-Eastern Landscape”, in Northern Landscapes: Representations and Realities of North-East England, editors Thomas Faulkner, Helen Berry, and Jeremy Gregory. Woodbridge: The Boydell Press. p. 266

The Washington Post Highlights Staff Unseen in Annual Museums Feature

Kudos are due The Washington Post for focusing its annual Museums feature on positions often not highlighted in museums. Their selection of staff only demonstrates how they barely scratch the surface of the roles these workers fulfill and the skills and experience they bring to the work. And yet, it’s a start. What is your institution doing to highlight how it accomplishes the work of serving as a steward of cultural heritage? The variety of voices on the museum’s team can assist museums building pathways of understanding to desired audiences.

Read more here https://www.washingtonpost.com/entertainment/museums/behind-the-scenes-at-an-exhibition/2015/10/15/ff3845f8-6e9d-11e5-9bfe-e59f5e244f92_story.html


Behind the scenes - designers sometimes forget that actual adults have to get inside casework to clean the glass. Physical rigor is often required for all levels of museums staff. Photo: 2009.

Behind the scenes – designers sometimes forget that actual adults have to get inside casework to clean the glass. There is no way in besides through the front pane. Physical rigor is often required for all levels of museums staff on a daily basis, from gymnastics to feats of strength. Photo: 2009.

Uniting to Save: Sharing the Importance of Cultural Heritage Protection in Your Community

Originally published at rebeccafifieldpreservation.com.

Last week I attended Uniting to Save World Cultures: Investigating the Attributes of Successful Cultural Heritage Protection Interventions at the National Museum of American History, Smithsonian Institution. Organized by the Smithsonian’s office of Cultural Heritage Protection, the conference was broken into four panels: Risk Reduction, Building the Capacity for Resilience, Local Leadership During Crises, and Negotiations and Collaborations During and After a Crisis. The presentations were rich with alliances, education, innovation, and sometimes pure luck. Speakers from Haiti, Ukraine, Syria, Afghanistan, Iraq, and others recounted efforts to save and salvage culture in duress, poignant reminders of what is at stake.

Life safety is foremost in a response effort, but for return to normalcy, we seek connection with our communities and what defines them. To hear that iconic historic sites and cultural resources have been damaged or destroyed compounds our feelings of loss. The United Nations established a structure of UN agency clusters that are active early in response to “turn the dividends of humanitarian action into sustainable crisis recovery”, but as Aparna Tandon of ICCROM noted, it includes no cluster for cultural recovery.[1] In areas stricken by natural disaster and conflict, the UN’s very own cultural arm, UNESCO, has outlined the importance of access to education and cultural heritage as a right and stabilizing force where tumult is the norm.[2] To fail to include cultural heritage response and recovery is to salvage human life, without salvaging what makes us human.

It is possible to begin building awareness of cultural needs in an emergency now at the local level. First, as collection stewards, we must make preservation activities in our institutions more visible. Heritage at risk is highly visible in the media today, given the destruction and looting of cultural sites in Syria and Iraq. Culture is lost during conflict, flood, or even as the result of an isolated pipe burst. For susceptible materials, even a small emergency can mean loss of some unique part of human experience. Risk mitigation, trained response and recovery can prevent that loss. If our stakeholders don’t know about the steps institutions take to protect heritage, we can’t expect them to support cultural property protection in an emergency. Here are a few ways cultural institutions can connect to community to support the recovery of cultural heritage after a disaster:

  • Work with local emergency managers and first responders to make them aware of your institution and its collections. Invite them for a tour. Ask them about their interests; identify ways to create personal connections between them and your collections.
  • Join or request assistance in developing an Alliance for Response(AfR) group in your area. AfR connects emergency managers, first responders, and the cultural community to find common ground before emergencies happen. Recently, this program has moved from Heritage Preservation to the Foundation for the American Institute for Conservation. Visit http://www.heritageemergency.org/initiatives/alliance-for-response/afr-home/.
  • Meet with local cultural community leaders to understand cultural heritage priorities in the community. Recovery requires the involvement of the community regardless of what expertise and money emergency managers bring to the table. Doing this work ahead of emergencies facilitates recovery sooner.
  • Hold a brown-bag lunch, disaster-related historical lecture series, or other programming that can provide a venue for you to talk about how your organization and the cultural sector prepares for and responds to emergencies today. Other ways to get this message out include newspaper articles, websites, and behind-the-scenes tours. Emphasize what the loss of your cultural resource might mean to your various institutional stakeholders. If collections are lost, what will that mean to school children, a particular ethnic group, alumni of a historic school, women, or the impact on tourism in your community? Highlight institutional preparedness to start a conversation about community preparedness.
  • Host an emergency management agency public preparedness program at your institution, and insert a discussion about how your institution prepares for emergencies.

Acting on any of these ideas assumes that your organization has done the vital work of preparing for emergencies, identifying risks, and developing mitigation strategies. If your organization has yet to begin establishing an emergency management program, including assessing risks, writing a plan, and training staff, start right away. See my post Five Small Ways to Boost Your Institution’s Emergency Preparedness or any number of resources through the FAIC website.

Thanks to Corine Wegener, Cultural Heritage Preservation Officer at the Smithsonian for her vision and hard work forwarding this mission. You can review the Twitter feed from the conference at #unitetosave . Visit the SI Heritage and Disaster Response website at http://unitetosave.si.edu.

[1] United Nations Office for Outer Space Affairs. 2015. Knowledge Portal: Space-based information for Disaster Management and Emergency Response. http://www.un-spider.org/risks-and-disasters/the-un-and-disaster-management

[2] United Nations Educational, Scientific, and Cultural Organization. 2010. The right to education in emergency situations, A/64/L.58. http://www.unesco.org/new/en/unesco/themes/pcpd/education-in-emergencies/nine-reasons/ (24 January 2015).


Deirdre McCarthy of the National Park Service Cultural Resources Geographic Information Systems discusses the use of GIS for rapid assessment of historic structures in New Orleans after Katrina to prevent needless tear downs of historic structures. As McCarthy pointed out, imagine how technology has advanced from 2005 to better enable this work after a disaster. Their team surveyed approximately 90,000 buildings.

Conservation: We Can Be The Culture of Yes

Originally published at rebeccafifieldpreservation.com

When it comes to risk in a museum, library, or archive, what is worth it? What isn’t? How do we assess and mitigate collection risks and outreach strategies so that the institution’s stakeholders may benefit from access to collections in new ways? And when is the party just out of control?

Menachem Wecker, a freelance writer for The Washington Post, explored this in his 22 August 2015 article, “Earthquake? No damage. But what about loud music?” (I’m quoted in the article). As preservation professionals, we have targeted most our risk radars toward classic exhibition- and storage-related risks. Will the object fade under those lights? Will this display case provide adequate protection against pest infestation? Risks come and risks go. Staff used to smoke in their offices. Now, special events directed toward new (read: younger) audiences have turned up the volume, which as Mr. Wecker observed, caused sculptures at the Freer and Sackler galleries to vibrate.

Conservators have built a professional brand around protecting and preserving, but over time, we’ve been branded as promoting culture of “no”. That perception has often led to cutting conservators out of the conversation. We are about preservation – and access. Access is why we preserve. Preservation professionals (conservators, collection managers, registrars, others) manage the balance of collection use and care through our work. What has changed is the audiences our institutions are pursuing and they ways we look to engage with those audiences. The concept of “behind the scenes” no longer exists. Audiences want to know about how we store collections, how we care for collection spaces, how we plan storerooms, how we prepare for emergencies, how we dust large sculptures. Collections are no longer just for academics. All audiences are curious about new ways to connect with the holdings of cultural organizations.

Preservation professionals need to get in the game by presenting themselves as strategic partners: we should be seen as the arbiters of outreach, not the roadblock. As in emergency response, we want to be involved in the planning, not just the response when something happens. We are the classic problem solvers.

Don’t have a seat at the planning table? Influence strategies from management theory can provide tools to build trust. Who are your allies to support your views? What are the needs of the project stakeholders? What other information or knowledge building can you facilitate among your target decision-makers? It often takes multiple attempts to build trust with other staff and to promote conservation as facilitating long-term outreach potential for collections. Work with education and special events to grasp the needs of their audiences and outreach goals so you can partner in facilitating the preservation and access balance.

The ludicrous requests will come. Build on your successes. Learn from the failures. Foster those relationships. Promote the preservation big picture, time and again.

George Sappington Bowman, Strongman. c. 1900.

Strongman, George Sappington Bowman, c. 1900.

Preservation and Access in Oklahoma

Early this week found me in Edmond, Oklahoma. Located along US Route 66, the texture of the town is trains, traffic, bungalows, and mid-century roadside architecture. UCO was founded as a land grant college in 1890, right after the Land Run of 1889. An assortment of mostly 20th century buildings exhibit mid-century campus quirk. I spent most of my time speaking to graduate students within the 1960s Liberal Arts building on the eastern edge of campus. Black felt pressboards fitted with white plastic letters called out professors’ offices. I know eventually this authenticity will be lost under an “upgrade”, but I enjoyed its forthright old campus feel. Staff puts around the campus in Club Cars, labeled with their department. I enjoyed walking the campus, thinking it no larger than a few city blocks, though much prettier.

For two days, I lectured students on 18th and 19th century dress history, researching primary sources, how to vet secondary sources, sourcing materials to recreate historic dress, and program management. The historical interests of the students were varied, representing ancient cultures, medieval art, and World War II. Much of the museum culture in the area involves the Oklahoma City Federal Building Memorial, the historical society, and also the Laboratory Museum on UCO’s campus, which began quite early for a collection of this type, in 1915.

Interestingly, there was little sewing or textile knowledge in the room. I was prepared for that, and incorporated a lecture on textile manufacture (the very basics on fiber harvesting, preparation, weaving, spinning, dyeing, printing, etc). We did some exercises in identifying personas and suggesting research sources, and management scenarios: the “Reenact-tourists” wreaking havoc at the museum and the “40-Year Volunteer” quite pleased with her t-shirt and long pink calico skirt.

I enjoyed being in the classroom again. We talked about printing, and working with extant garments, and how to spell Lewis Walpole and Garthwaite, assessing how elements of clothing change with fashion. I shared advertisements of embroiderers living in Elfreth’s Alley and consternation expressed over how women’s hoops in the 1850s concealed the fine strong figures of their male companions.

Those of us who delight in the painstaking details of historic dress cannot forget its purpose: audience. The collections and interpreters exist not for purity of form in a vacuum; they must be tightly tied to mission and delivery of that mission to institutional audiences. I highlighted communicating their vision for authentic clothing to administration and supporters with a vision for an authentic clothing program, building specific, measureable, achievable, relevant, time-sensitive (SMART) goals for implementing a program, and using training and incentives to help make those changes. Bevin Lynn’s recent article “Starting a Historically Accurate Clothing Program at your Historic Site” in the ALFHAM Bulletin provides invaluable insight to managing historic dress programs.

I treated myself to dinner at Ludivine in Oklahoma City last night to unwind from 10 hours of lectures. Had a nice chat with Chef Jonathan Stranger. His new venture, R&J Lounge and Supper Club, is a throwback spot serving Genesse Cream Ale and relish trays. The inspiration for food and feel? He and Chef Russ Johnson visited the menu collection at the New York Public Library. That was a nice way to seal the trip, watching preservation and access to collections in action. It was delicious, even if the verjuice and house made ginger beer brought tears to my eyes.

Cheese. Ludivine. OKC. RL Fifield photo.

Cheese. Ludivine. OKC. RL Fifield photo.

Museum Monday: Off to Miami! American Institute for Conservation’s Annual Meeting

I’m headed to Miami for the American Institute for Conservation’s Annual Meeting. I look forward to seeing friends and hearing about the hard work they have been doing in preserving our cultural heritage. I’ll be seeing a lot of the inside of a modern meeting space, but will see more of Miami at AIC conference events at HistoryMiami and when I finally break free of the building for dinner. My schedule is full and varied; here are some highlights:

  • Influencing for Impact: Leadership Strategies for Collection Care Professionals. This workshop, led by Bob Norris, with myself and Courtney von Stein as mid-career and entry level preservation professionals, will explore the relationship, communication, and leadership strategies for those who champion collection care. Not only is Bob a recognized management consultant, he’s the husband of Debbie Hess Norris, so he is very familiar with conservation! One takeaway I’ve had in planning the workshop so far: what do you want your leadership legacy to be? While “capable” was the first word at the top of my list, immediately after that was making sure that all on my team know that their role is integral and valued. Preservation is built on systems that must endure over time. The greatest resource is the people who make it happen.
  • STASH Flash II! Wednesday, 4:30pm. A rapid fire ideas session for object storage supports, hosted by the minds behind the Storage Techniques for Art, Science, and History collections website.
  • Collection Care Network Session, Thursday afternoon. The CCN formed in 2012 to further preventive conservation, network with allied professions, and support all preservation professionals who contribute to it. This year, we will have presentations on microclimates, preservation self-assessment tools, food and drink policies, the Connecting 2 Collection Care program, exhibition case design, and considerations on conservation as a prevention of harms or a social good.
  • The Heritage Health Information survey lunch on Friday, the kick-off session for the 2015 version of the state of preservation in American collections. I think that many share my sadness at the closure of Heritage Preservation, long the mind and energy behind very important preservation and emergency preparedness resources and projects. I look forward to hearing the initial results of this project, and celebrating the move of so many important HP projects under AIC’s wing.

Please make sure to stop me and say hello in Miami!