During 1984 I carried out an Internship in Materials Conservation under the supervision of Mrs. Patricia Johnson, the Conservator of the Nicholson Museum of Antiquities, the University of Sydney. My area of specialization was in the conservation of artifacts. The majority of artifacts examined and treated during the Internship were from archaeological excavations in the Middle East, at the site of Pella, in Jordan. The site of Pella has produced artifacts from a wide chronological range ; Neolithic, Bronze Age, Iron Age, Hellenistic (Greek), Roman, and Arabic historical periods. A selection of these artifacts has been granted to the University of Sydney by the Jordanian government, and constitute the present Pella Collection. Most of the materials are inorganic, i.e. ceramics, metals, glass, and stone, although bone and ivory artifacts, as well as skeletal material, form a part of the collection. Upon an initial examination of the collection, conservation problems were identified and a program of conservation work for the collection was formulated. Priority treatment was given to the metals in the collection, particularly to the small bronzes which were found to be suffering from "bronze disease" (active corrosion), to ceramics needed for study and display, and to glass with unstable surfaces. Improvements in storage conditions for the Pella Collection, particularly in the packing of small finds and the storage of metals, were also given a high priority. Taken altogether, the Pella Collection has proved to be a wellbalanced collection, covering almost every period of Kiddle Eastern Archaeology, and containing artifacts representative of most types of materials and of ancient technology. Planned as a research and teaching collection for the students of the Department of Archaeology, the University of Sydney, it also proved to be an excellent teaching collection for a student of materials conservation. The following, therefore, is a report on my Internship in Archaeological Conservation, and includes a description of the institution which sponsored the Internship, a description of both the program of work and the program of instruction for the Internship, detailed descriptions of all conservation work and other activities which were undertaken as part of the: Internship, and a final evaluation of the Internship.

During the period of internship at the Art Gallery of New South Wales (March, 1982 - January 1983), I had the opportunity to work on paintings from the 20th, 19th, 10th, and 17th centuries. Some of the paintings were privately owned, and usually arrived at the Gallery in much worse condition than any of the Gallery's paintings, therefore I had the chance to carry out major treatments as well as the routine minor treatments associated with the maintenance of a collection. The atmosphere at the Gallery conservation facility is a healthy one. The laboratory supports five fulltime conservators (Alan Lloyd, Peter Gill, Gill McMillan, Susie Bioletti, and Ranson Davies). All the members of staff were willing participants in helping and advising me during my period of internship. The contact with so many points of view and attitudes was instrumental in maintaining a positive and constructive attitude toward the profession. Cathy Lillico (conservator for the Regional Galleries) and Anne Gaulton were also working in the laboratory during my period of internship. Both took an active interest in my work at the Gallery. The work emphasis at the Gallery was placed on practical experience with paintings conservation, and a wide range of techniques and attitudes were considered and implemented. The period was also an opportunity to become involved in other aspects of conservation work apart from treatments. The transport, display, lighting, packaging and handling of painttings are important responsibilities for conservation staff, and I participated in them whenever possible. The routine examination of the Gallery collection and monitoring the light and temperature fluctuations within the Gallery environment were also part of my duties. The exposure also gave me the opportunity to answer public telephone enquiries and participate in advising the public on conservation during the Thursday morning open house, when the public is allowed to bring their works into the Gallery for advice from curatorial and conservation staff. I consider it a valuable and worthwhile exposure to the workings of a major institution. The Gallery conservation facilities include a studio and darkroom that are well equipped for conservation photography. I chose to take advantage of those facilities to improve my standard of photography and increase my understanding of the application of photography to the examination of paintings. The Gallery was very generous to allow me the use of film materials during my period of internship. All the plates and slides in this presentation were photographed, developed, and printed by myself, with the exception of color processing, using the conservation department facilities. Internships are not a tradition within the Art Gallery Conservation Department. Because of this, there is not an established program or itinerary for interns to follow. I am grateful to the entire staff of the conservation department, especially Alan Lloyd, for their support and encouragement in shaping an interesting and rewarding internship. I hope the opportunity will be made available to others who wish to pursue the profession of conservation. Some of the material presented in this dissertation is included for my own reference. This includes the TABLES 1-4 and some of the basic information under the conservation photography section dealing with normal and raking light illumination techniques.

For rare book collections, a considerable challenge is involved in evaluating collection materials in terms of their inherent value, which includes the textual and intangible information the materials provide for the collection's users. Preservation management in rare book collections is a complex and costly process. As digitization and other technological advances in surrogate technology have provided new forms representation, new dilemmas in weighing the rare book's inherently valuable characteristics against the possibly lesser financial costs of surrogates have arisen. No model has been in wide use to guide preservation management decisions. An initial iteration of such a model is developed, based on a Delphi-like iterative questioning of a group of experts in the field of rare books. The results are used to synthesize a preservation management framework for rare book collections, and a small-scale test of the framework has been completed through two independent analyses of five rare books in a functioning collection. Utilizing a standardized template for making preservation decisions offers a variety of benefits. Preservation decisions may include prioritizing action upon the authentic objects, or developing and maintaining surrogates in lieu of retaining costly original collection materials. The framework constructed in this study provides a method for reducing the subjectivity of preservation decision-making and facilitating the development of a standard of practice for preservation management within rare book collections.

Quilting is a self-chosen leisure activity for millions of women in the United States. Previous research on quilting suggested that quilting is influenced by the emotional state of the quilter. However, the emotional experiences generated during quilting have not been fully explored. The purpose of this qualitative narrative study was to explore quilters' perceptions of what quilting as a leisure activity does to enhance their well-being and increase flourishing. Positive psychology well-being theory was the theoretical foundation for the study. Semistructured interviews with 12 adult women who quilt as a leisure activity were the basis of the narrative inquiry. Data were recorded through in-person and telephone interviews that were transcribed and analyzed using thematic analysis to develop overarching themes. Findings revealed that quilting contributed to participants' well-being and built flourishing through three primary avenues: creativity, relationships, and positive emotion. Quilting provided an opportunity for creative expression and growth as artists. Quilt-making activity was centered around relationships with other quilters and with the larger community, and quilting was linked with positive emotion as participants experienced great joy in their quilting activities. This study has implications for increasing well-being and building flourishing in women through the adoption of quilting as a leisure activity.

Tucked within Pomona College’s campus in Claremont, California, sits Frary Hall, the home of Mexican muralist Jose Clemente Orozco’s first work in the United States. The mural, titled Prometheus (1930), has been subjected to many instances of vandalism over the years. Thus, in 1980, a protective coating was applied. Today, the coating, a highly-reflective varnish, has been noted as a hindrance of the fresco’s original matte surface. Using case studies and art historical analysis, this thesis examines the importance of the mural within the history of Mexican muralism and the pros and cons of removing the protective coating. In addition, this research looks at the potential of art conservation as a means of reactivating the mural and promoting discussions across campus about the preservation of this cultural landmark. The thesis is culminated by a detailed proposal for the continued conservation of the mural, using Prometheus as a starting point for further discussions about aesthetics and ethics within the discourses of art history, art conservation and art restoration.

This written thesis unpacks the thoughts and motivations behind the decisions I have made in my artistic practice that have ultimately culminated in my M.F.A. Thesis Exhibition: Sub for More. By merging images of my own work as well as internet sourced images of the culture that drives my work, I have created a platform to begin to understand my experience during graduate school. This text examines and explores my belief in the inherent power in pop culture, my obsession with fame, celebrity, and my self-identity as a participant in current pop-culture.

"Handicraft" means a useful or decorative object made by a craftsman who has direct control over all stages of production. Handicrafts have always had a greater value, an identity of their own that is reflective of their place, culture and materials, as well as a sense of belonging to a particular place and time. With the ever-growing mass production that followed the Industrial Revolution, we lost those crafts to multiple reasons: one being cheaper, industrial-made products reducing the demand for handicrafts, and another being a shift in consumer tastes. Most craftspeople hardly earn enough to survive and fulfill their basic needs, and naturally seek greater economic stability. In hopes of making a better future for their children, they send them to schools to gain knowledge that could help them gain employment and be able to make better livings for themselves and their families, halting the passing of knowledge. Hence, the heritage of skills that had been passed for generations in a family comes to end. This risks the loss of a craft that once was a source of pride and joy for these artisans – and for the larger community There are a number of efforts going on around the globe to preserve the indigenous crafts of different cultures, and to allow that knowledge to be passed down to new generations. My focus in this paper is a specific object (the charpai) from the Jandi craft, and its preservation through innovation. My work seeks to advance and preserve the skills and traditions of the artisans, while designing a new set of products inspired by the craft that hope to reconnect more artisans to the craft and empower them in terms of knowledge and finance.

<p>Bio-inorganic structures have been found to exhibit impressive optical and mechanical properties, such as control of light and/or high fracture strength. Certain species of diatoms (single-celled algae) form siliceous microshells (frustules) with organized structures that affect the transmission of light or fracture strengths. It has been found that <i>Coscinodiscus wailesii</i> diatoms have frustules with a quasi-regular hexagonal pattern of pores, which act as micro-lenses. In terms of mechanical strength, <i>Fragilariopsis kerguelensis</i> diatom SiO₂ frustules have been observed to exhibit impressive compressive and tensile fracture stress values. In this study, shape-preserving chemical conversion (using gas/solid reactions) is used to transform biogenic structures (diatom frustules) into high IR refractive index or ultrahigh specific strength materials. High-fidelity MgO/Si, Mg₂Si, Ca₂Si, MgO/Ti, and Ti replicas are successfully synthesized and characterized by SEM, EDX, XRD, and TEM. Focal point imaging experiments are used to show that focusing behavior of MgO/Si and Mg₂Si replicas can be enhanced in the IR range upon conversion into higher index replicas. Mechanical properties of SiO₂ frustules, MgO/Ti replicas, and Ti replicas have been measured by using in-situ and ex-situ indentation, which revealed that the mechanical properties can be enhanced by the shape-preserved chemical conversion of Bio-inorganic structures.</p><p><br></p>

As the world becomes increasingly aware of the need to better care for the environment, innovative business models are helping to counter the damage of the fast fashion system - a phenomenon in the fashion industry whereby production processes are expedited in order to get new trends to the market as quickly and cheaply as possible. Designing products with a focus on their renewability can shift the product-consumer relationship. The closed loop concept of a “circular economy” is emerging as a viable and promising solution to the current linear business model. This study explores the possibilities of a more mindful approach to systems of production and consumption through material explorations using plastic from water bottles, paper from old newspaper and magazines, and fabric leftovers from pattern making within a circular economy. It considers the generative and renewable approaches in redefining how fashion engages with the components and raw materials of the industry. The research demonstrates a circular approach to the production of hospitality accessories in an effort to develop new intersections between products, materials, and consumers. The accessories are designed using discarded, reformulated denim–an abundant and underutilized byproduct of the fashion industry­–to reduce waste that currently occurs every time hotel chains and airlines produce disposable giveaway products from new materials.

Historically, 18th century anecdotal accounts of the decimation of several tribes of U.S. of the Native American population by trading of infected textile blankets alludes to the role of retail in the transmission of infectious disease. This study explores implications of the modern day retail organization practice of reselling returned clothing textiles from a public health infectious disease perspective. A qualitative multi-case study, utilized responses from 20 open-ended, unstructured interviews of retail employees assigned to the returns process. Additionally, several informal observations of select U.S.based, top-ranked clothing retail organizations, identified by the National Retail Federation were completed. Select federal, state, and local public health regulations regarding returned clothing textiles were then examined in an attempt to identify potential public health risks. Under a general systems conceptual framework, the points of interaction between the complex adaptive systems seen in retailer and the public health organizations were examined for infectious disease and infestation implications. Using MAXQDA software to perform the analyses, it was found that current retail practices and policy present unacknowledged infectious disease or infestation transmission risks. The risk applies to all, but is particularly relevant to immuno-compromised individuals. Though the risk in accepting and returning clothing to the sales cycle is an industry wide practice, it can be mitigated. Suggested mitigation takes the form of health training, and introduction of disinfection sanitizing tools such as UVC light exposures, into the returns-resale process.The findings point to an opportunity for social change for consumers, retail workers, and the community through update of public health and retail practices.