The MACC Preservation Services department offers a large variety of workshops each year. Some are designed to address the most common collections care needs expressed by collecting institutions, while others cover more advanced and technical issues. Instructors include MACC staff along with other nationally recognized experts. MACC workshops serve the staffs of historical collections, Native American collections, culturally-focused collections, fine art collections, library collections, and archival collections. Please check back frequently for updates on workshop offerings, locations and dates.

Click HERE for the Workshop registration form.

Framer’s Workshops

July 9, 2009
Conservation Methods of Specialty Matting and Framing: Float Mats, Shadow Boxes and Vitrines
While many types of works of art on paper can be matted and framed using traditional window over mats, many others cannot.  This workshop will cover a variety of techniques for the display of works of art on paper in non-traditional matting and framing.  The use of “float mats” is one specialized method for matting works of art where traditional window over mats are not possible, but float mats can be problematic over time.  Special hinging methods for float mats will be discussed and demonstrated, as well as issues surrounding the matting, framing and display of three-dimensional works of art.  Participants will be encouraged to bring their own works on paper and pre-cut mats for demonstration of the use of float mats and practice purposes.  Technical leaflets and product samples will be available to all participants.

August 13, 2009
Conservation Methods for Matting and Framing Photographs: Historic to Contemporary
Photographs can be especially problematic for matting and framing due to the inherent complexity of the chemical and physical properties associated with various developing and printing processes and materials used in photography.  This workshop will concentrate on practical methods and procedures for the matting and framing of a variety of photographic prints.  Learn why “buffered” matboards and backing boards can irreversibly damage photographs; how to attach photographs into mats using no adhesives; how to mat photographs on RC (resin-coated) papers; why the use of foam core boards should never be used with photographic prints; why the chemistry of black matboards and mount boards is so important; and a host of other practical information and techniques.  Participants will be encouraged to bring their own photographs and pre-cut mats for discussion, demonstration and practice purposes.  Technical leaflets and product samples will be available to all participants.

September 10, 2009
Conservation Methods for Framing Paintings on Canvas, Board and Wooden Panels
More damages are caused to paintings by framing than any other source!  This workshop will concentrate on methods and techniques to properly frame paintings to Museum Conservation Standards.  Learn how to properly frame paintings to prevent future damages; why nails should never be used to attach paintings into frames; why backing boards are necessary for paintings and how to properly apply them; why screw eyes can be the deathblow for paintings; what are stretcher keys and how are they used; why improper framing of wooden panel paintings can cause splits and cracking; why “strip” frames should never be used on any type of painting; why frame rabbets must be padded and how to do it; Why metal frames should never be used for paintings; plus a host of other practical techniques and information. Participants may bring their own painting (no larger than 16x20”) and a pre-cut frame (Make sure it fits the painting!) for demonstration and practice purposes. Technical leaflets and product samples will be available to all participants.

Conservation and Collections Workshops

August 3-4, 2009
Minitex – University of Minnesota Minneapolis Campus
Writing Grants for Advanced Conservation Projects
A lecture with practical exercises to assist participants in writing a grant for a conservation project at their own institution with follow-up assistance to complete a grant application

Director of Preservation Services Neil Cockerline and MACC Executive Director Colin Turner will teach this two-day workshop. The instructors will present a comprehensive workshop on grant-writing for conservation-related projects, including discussions on potential funding sources at the Federal, state and local levels following the unwritten federal grant funding protocol for:

• Writing long-range preservation plans and writing disaster plans
• HVAC System upgrades and other major storage renovations or additions
• Object-by-Object detailed surveys of collections and actual conservation treatments

The second day of the workshop will focus on writing grants for large scale or large budget preservation and conservation projects including options for private and corporate foundations for matching funds.

The goal of the workshop is for participants to leave the session with a realistic and practical understanding of grant writing for conservation project proposals. Preservation Services staff will then follow-up with participants who are developing full grant applications.

Registration fees for this two-day workshop will be $245 with a 20% discount to members of MACC. Institutions with budgets of $100,000 or less receive a 50% discount and currently enrolled students pay $100 for the two day workshop.  For more information or to register contact Melinda Markell, MACC Preservation Services Coordinator at (612) 870-3128, Fax (612) 870-3118, or e-mail info@preserveart.org.

Public Workshops

October-November, 2nd Thursdays 6:30-8:30 p.m.
Located at MACC in the Minneapolis Institute of Arts - Minneapolis
Cost: $75 each, $135 Both  (When booked together prior to first workshop - registration must be submitted at least one week prior to the workshop date.)

October 8, 2009
Using Ultraviolet Light to Examine and Assess Works of Art
One of the most useful analytical techniques available to conservators is Ultraviolet light.  You may have heard curators, collectors or auction house staff ask to see an artwork under “black light”, but did you know why or what they were looking for?  This never-before-offered workshop will answer this question and many others in a very practical hands-on way.  Participants will have a rare behind-the-scenes opportunity to see a professional conservator  who is an expert in Ultraviolet Light Analysis of Fine Art examine a number of paintings, works on paper, documents and photographs demonstrating this valuable analytical technique.  Then participants will have the opportunity to examine a number of artworks on their own!  Participants will also be encouraged to bring a two-dimensional artwork of their own (no larger than 16x20” please) for analysis.

November 12, 2009
Conservation Procedures that Aid in Identifying Fakes and Forgeries in the Art World
The art world and art market are full of fakes and forgeries-or as conservators like to say, “artworks that appear to be something that they are not.” Analysis of a questionable artwork relies on a number of sources including art historians, curators and other experts including conservators, but while conservation analysis of a questionable piece is not a definitive ruling of authenticity, it can be an important asset in making a sound determination.  In this aspect conservation is very similar to forensic science.  This never-before-offered workshop will be an once-in-a-lifetime opportunity for participants to learn some of the techniques and methodologies used by conservators to analyze the authenticity of artworks.  Through a combination of lecture, PowerPoint presentation and actual hands-on analysis, participants will have the chance to examine, analyze and discuss a number of “artworks that appear to be something that they are not!”