CARING FOR ACRYLICS: MODERN AND CONTEMPORARY PAINTINGS

Caring for Acrylics: Modern and Contemporary Paintings is a joint Tate-AXA Art publication intended as a guide to the care of acrylic paintings. It celebrates AXA Art's current AXA Art Research Grant project and is aimed at collectors and owners interested in the latest best practice recommendations on the storage, handling, display, framing, transport and environmental considerations for acrylic paintings.

The author team includes several members of Tate’s conservation department and Tom Learner of the Getty Conservation Institute.

http://www.axa-art.co.uk/Content.asp?IDAREA=7&TIPO=A&IDCONTENT=471&C=1

TWITTER http://twitter.com/artOFinventory ART of INVENTORY - the comments

BLOG http://artofinventory.blogspot.com = story ART of INVENTORY - the stories

BLOG http://artofartinventory.blogspot.com = pictures ART of ART of INVENTORY

THE ART OF PRESERVING PHOTOGRAPHS

CARING FOR YOUR ART COLLECTION: THE ART OF PRESERVING PHOTOGRAPHS By Dana Hemmenway, Photography Conservator http://www.axa-art-usa.com/Content.asp?IDAREA=7&TIPO=A&IDCONTENT=109&C=1 • Do not exhibit photographs in direct sunlight, as damage from light is irreversible. When possible use UV-filtered glazing and rotate works on display. • Monitor ambient conditions and strive to keep the tem- perature from 68 to 72 degrees Fahrenheit with a relative humidity of 40 to 50 percent. • Handle photographs with clean or gloved hands to avoid leaving residues such as oils and salts that can permanently disfigure the work. • Individually sleeve photographs to increase protection from abrasion, dust, dirt, and harmful gases in the air, utilizing products that have passed the Photo- graphic Activity Test (P.A.T.). BLOG http://artofartinventory.blogspot.com ART of ART of INVENTORY - the pictures

TEN REASONS TO KEEP AN INVENTORY

TEN Reasons to keep an inventory of your art works (Part 2)

What information goes into your inventory?

How much information you put in your inventory is up to you. My rule of thumb is: the more, the better.

• A reference number: not mandatory, but may be convenient if, for instance, you what to link the entry to a separate library of photographs of your
  
• Title of the work
  
  
• Dimensions of the work. I may indicate the dimensions in inches or centimetres or both (it depends whether I buy the support in France or in England).



• Date of completion. Personally, I use the month and the year and, if the work has been created over a long period of time, I would register it at the end with the indication of both the starting month and the end month.



• Medium: watercolour, oil painting, graphite, etc.



• Support: canvas, board, watercolour paper… Personally, I indicate the details of the support used in the comment section. This is important as, if I like the effect I can achieve with a particular paper, I want to know exactly what sort and brand it is. Same thing for a canvas I am using for oil painting. A typical example would be: “Winsor & Newton Artists’ Quality Stretched Cotton Canvas – Triple coated Acid free sizing” (I make sure I keep the label of the canvas until I transfer the information into the inventory)



• Material used. This is important in particular if you use unusual material or techniques. But even if you use traditional technique, some information may be useful if the work needs restoration of repair (for instance the type of varnish you use on your oil painting)



• Price (if the work is for sale): I indicate is the price is for the work with or without the frame.



• Costs information: I try to track the cost of material, such as canvasses and frames. This helps when you set-up the price of your work.



• Information on the subject of the painting. Are you going to remember the exact name of that place you painted five years ago if it is not in the title of the work?



• Details on the creation of the work: If I write a blog entry on a particular work, I would cut & paste the text in the “comments” section.



• Exhibitions where the work has been show.



• Juried exhibition where the work has been submitted (even if it has been refused)



• Publication record. Has the work been featured in the press or in a book?



• “SOLD”… with the date when it has been sold.



• Name of the collector who purchased the work, as well as her or his details

Tools for your inventory

If you are low-tech, pen and paper work well. Just prepare a table with as many columns as necessary for the information you want to capture and photocopy your template.

On a computer, you can use a simple spreadsheet (like Microsoft Excel) or a table in a Word document (use the landscape format) to keep your inventory. The key is to keep your inventory up-to-date as you go. I learnt the hard way that trying the re-create the information several years after the facts is almost impossible.

You can also invest in a professional solution. A number of vendors propose some software that helps you to keep your inventory, but also to generate price lists, catalogues and even manage your mailing list. See Related articles below for more information on existing artist software solutions.


Some practical considerations


If you keep your inventory on your computer:

• Print it from time to time, just in case


• Always back-up you information (on a disk or on another computer, of both)



• Print a couple of blank tables where you can write down the information when you have it. At the end of the month, you can transcribe your notes into your electronic document. Batching in this way will save you time and you won’t have to switch your computer on to update one piece of information in your inventory.
  BY http://myfrencheasel.blogspot.com/2008/12/10-reasons-to-keep-inventory-of-your_08.html

http://myfrencheasel.blogspot.com/2008/12/10-reasons-to-keep-inventory-of-your_08.html

BY: The French Easle Dcecember 10th 2008

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http://artofartinventory.blogspot.com

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FOR ALL ARTISTS

TEN REASONS TO KEEP AN INVENTORY OF YOUR ART WORK

(PART ONE)

MY FRENCH EASLE :

"Keeping an inventory may seem a waste of your time. What use would it have? I would rather be creating and painting. See keeping an inventory as an investment to save you time and tears later. Let’s put it this way: when you realise you really need an inventory of your works, it is generally too late to reconstruct it for the past."

http://myfrencheasel.blogspot.com/2008/12/10-reasons-to-keep-inventory-ofyour.html

http://artofinventory.blogspot.com

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A VISION FOR THE ART MARKETS

Deloitte Art & Finance Conference Paris

Thierry Hoeltgen – Lead Partner

October 21, 2010

http://www.deloitte.com/assets/Dcom-Luxembourg/Local%20Assets/Documents/Artandfinance/2010/lu_visionartmarket_22112010.pdf

Register for FREE your stolen art.

Registreer GRATIS uw gestolen kunst.

Registrez GRATUITEMENT vos oeuvres volees ·

www.stolenart.be/

and new letter @ Register for FREE NEWSLETTER =

www.stolenart.be/

PROTECTION MANAGER - CERTIFICATE COURSE USA

CIPM course in USA

The nationally acclaimed Certified Institutional Protection Manager (CIPM)
workshop offers a full day of objective training for facilities managers,
operations managers, owners, and others responsible for the protection of
company assets, property, facilities, and the lives of employees, guests,
and others (including small family-owned businesses). As the world security
situation changes, these programs have expanded to include topical
information and improved tactics for combating elevated threats using
increasingly limited resources.

CIPM PROGRAM TOPICS INCLUDE:

. Pre-Employment Screening, Hiring and Firing
. Staff Training and Security Awareness
. Workplace Violence Prevention
. Emergency Management Planning and Business Continuity
. Fire Protection Planning
. Protection of Collections and Assets
. Methods for Selecting and Managing Electronic Protection Systems
. Legal Considerations and Litigation Avoidance

This management-level training program involves a full day of intensive, hands-on, realistic training. Upon completion of course work and exam, attendees receive credit towards the Certified Institutional Protection Manager (CIPM) designation.

The registration fee includes:

- Course tuition
- Copyrighted training booklet, which incorporates detailed course handouts
and policy guidelines
- Daytime refreshments
- Certificate of completion

Advance registration required.

Fee: IAAPA member US$199; nonmember US$299

Presenter: Stevan P. Layne, CPP, CIPM, CIPI

Location : Orange County Convention Center

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Best Practices in Loss Prevention

Monday, November 15, 2010, 08:30am - 09:45am

Best Practices in Loss Prevention - Who Do You Trust?

Hosted by the International Association of Amusement Parks & Attractions in
Orlando, FL

http://www.iaapa.org/expos/attractions/attendeeindex.asp