Pay/Hours/Benefits: Not applicable

Work Location/s: National Air and Space Museum, Washington DC

Application Deadline: Bids are due by 5:30 on Sept 14^th, 2026.

Brief Description: 

The National Air and Space Museum of the Smithsonian Institution seek to contract 1 to 2 individuals to provide conservation assessments and treatments.  The Request for Quote and Statement of Work, which contain the details regarding this contract opportunities are available upon request until September 8, 2026. Requests to obtain these documents will not be accepted after that date. 

Contact Info/Link to Online Application: 

All correspondence regarding this request should include the subject line “Conservation Treatments”. Please submit your request for the RFQ, SOW, and any questions to: 

Lauren Horelick, Objects Conservator

NASM Conservation

Horelickl@si.edu

The post Contract Opportunity: National Air and Space Museum, Smithsonian Institute appeared first on Washington Conservation Guild.

Pay/Hours/Benefits: Not applicable

Work Location/s:

Delivery: National Museum of the U.S. Air Force, Wright-Patterson AFB, Dayton, OH

Pickup: Joint Base Anacostia-Bolling (JBAB), Washington, DC

Application Deadline: Bids are due by July 15th, 2026 to allow Govyork sufficient time for review before the Government deadline.

Brief Description: 

The project involves the professional mold remediation and conservation assessment of 992 pieces of artwork, including framed and unframed artwork and sculptures. The selected contractor will be responsible for mold remediation, archival-quality protective enclosures for 405 unframed pieces, conservation assessments for all artwork, professional packing, transportation, climate-controlled storage, documentation, and final delivery. Experience with museum collections, fine art handling, conservation, and mold remediation is highly preferred. Please also include your relevant past performance on similar projects.

If your company is interested, please provide Govyork:

• Detailed quotation
• Technical approach/scope of services
• Relevant past performance
• Company capabilities
• Lead time and project schedule
• cQuote validity (minimum 60 days)

Contact Info/Link to Online Application: 

For the RFQ, please send quotes and applications directly to Govyork using the contact information below using the Solicitation No. FA860126Q0071 in the subject line of your email:

Shane Coates
GovYork Inc.
Email: shane@govyork.com

The post Contract Opportunity: National Museum of the United States Air Force (NMUSAF) appeared first on Washington Conservation Guild.

Pay/Hours/Benefits: This position is eligible for a flexible work schedule within the open hours of NARA facilities, Monday-Friday 6 AM – 6 PM. The hiring range for this position is $57,736 – $75,059 per year, with full Federal benefits available.

Institution/Working Address: National Archives and Records Administration, 8601 Adelphi Road, College Park, MD 20740

Application Deadline: Application due by July 13th, 2026 11:59PM EST

Brief Description:

The Conservation Branch at NARA has opened a search for a GS-7 Conservator Technician at their College Park, MD labs. The position contributes to the conservation and preservation of documents, bound volumes, and photographs held by NARA. This is a full time, permanent position working under a Supervisory Conservator.

Primary duties include:

• Complete conservation treatments of a variety of complexities under the direction of a supervisory conservator
• Construct custom housings to specifications provided by a supervisory conservator or box team lead.
• Document treatments using a checklist or narrative report
• Undertake routine lab activities to support unit-wide conservation activities, such as maintaining equipment, preparing supplies, and monitoring inventories.

Contact Info/Link to Online Application: 

USAJOBS – Job Announcement

The post Conservation Technician (National Archives and Records Administration, Conservation Branch) appeared first on Washington Conservation Guild.

Although it is now time for me to step down as President, colleagues and friends will have plenty of opportunities to see me around. WCG’s programming will take a short break over the summer, but I am looking forward to welcoming familiar faces and new faces to our meetings when they restart in the fall. Speaking of the upcoming schedule, please mark the following dates on your calendars:

• Saturday, October 31 (WCG event): A half-day “Preservation of Heirlooms and Family Archives” clinic will be organized in partnership with the Army Historical Foundation. This program will be hosted at the National Museum of the United States Army in Fort Belvoir, Virginia. WCG’s call for volunteers will be released at the beginning of next season. 
• Monday & Tuesday, November 9–10 (Smithsonian event): An inaugural “Cultural Heritage Emergencies Summit” aims to provide a platform for cultural stewards in the DC region to examine preparedness strategies, discuss how to speed recovery, and strategize about how to save heritage that might otherwise be lost. This symposium will be held at the Arts & Industries Building in Washington, DC.

Another exciting announcement for me to share is that the Washington Conservation Guild will keep moving forward under the guidance of our new President, Sara Becker. I have enjoyed working closely with her over the past couple of years, and I will continue to support her leadership as I transition to Head of the Nominating Committee. If you or someone you know might want to join us as a new Board volunteer for the 2026/2027 Season, please feel welcome to send me an e-mail at nominating@washingtonconservationguild.org.

Yours in Service,

Keara Teeter (she/her)

Outgoing President, Washington Conservation Guild

The post Letter from the Outgoing President of the Washington Conservation Guild appeared first on Washington Conservation Guild.

Pay/Hours/Benefits: This is a full-time, salaried position with a pay range of $102,415.00 – $133,142.00 per annum. This is a trust funded position which does not confer competitive federal status to the incumbent. Trust employees have their own benefit program, which may include Health, Dental & Vision Insurance, Life Insurance, Transit/Commuter Benefits, Accidental Death and Dismemberment Insurance, Annual and Sick Leave, Family Friendly Leave, 403b Retirement Plan, etc.

Institution/Working Address: Smithsonian National Museum of Asian Art, 1050 Independence Ave SW, Washington, DC 20004.

Application Deadline: Application due by June 29th, 2026

Brief Description:

This position serves as an Objects Conservator within the Department of Conservation and Scientific Research with the responsibility to independently plan, coordinate and execute conservation examination, treatment, documentation, and preventative conservation activities in support of the National Museum of Asian Art (NMAA) exhibitions, loans, acquisitions, and long-term collections stewardship priorities. The role functions as a principal technical advisor to curators, registrars, collections management, exhibition staff, and other stakeholders regarding the safe handling, packing, transport, storage, display, and environmental requirements of objects and develops recommendations that mitigate risk and ensure compliance with museum and Smithsonian standards. The incumbent is supervised by the Welch Head, Department of Conservation and Scientific Research. 

Contact Info/Link to Online Application: 

Museum Specialist IS-1016-12 – Washington, DC | National Museum of Asian Art Careers

The post Objects Conservator (Smithsonian National Museum of Asian Art) appeared first on Washington Conservation Guild.

Pay/Hours/Benefits: The award will be a Firm-Fixed Price contract. The firm-fixed price shall include all direct and indirect costs necessary to complete the requirements as outlined in the SOW, over the course of 2087 hours, for the services to be completed by June 22, 2027.

Institution: Smithsonian Libraries and Archives, 10th Street and Constitution Avenue NW, Washington, DC 20013-7012

Application Deadline: Bids are due by 5:00 PM Eastern Time on Friday June 20, 2026.

Brief Description: 

This Request for Quote (RFQ) has been issued by the Smithsonian Libraries & Archives (SLA), Smithsonian Institution (SI), for technical professional conservation services in accordance with the following Statement of Work (SOW).

Contact Info/Link to Online Application: 

Questions regarding this Request for Quote must be submitted in writing to Katie
Wagner at wagnerkc@si.edu. By June 12, 2026. All questions having impact on the RFQ
will be issued to all vendors via email.

Quotes and supporting materials are due by 5:00 PM, June 20, 2026.
Responses should be emailed to:
Katie Wagner
Smithsonian Libraries & Archives
Phone: 301-238-1890
wagnerkc@si.edu

The post Contract Opportunity: Smithsonian Libraries and Archives appeared first on Washington Conservation Guild.

Pay/Hours/Benefits: This is a full-time, salaried position with a pay range of $121,785.00 – $158,322.00 per annum. This is a private funded position which does not confer competitive federal status to the incumbent. The selected candidate will be eligible for the federal government employee benefits package.

Institution/Working Address: National Gallery of Art, West Building. 6th St and Constitution Ave NW, Washington, DC 20565

Application Deadline: Application due by May 28th, 2026

Brief Description:

Duties for this position include:
Serve as the main point of contact for activities related to the display and care of the collection, specifically institutional loans through the Across the Nation (ATN) initiative.
Performs both major and minor conservation treatments on works of art, focusing on loans featured in the Across the Nation initiative.

Evaluate facility reports and assess works of art requested by other institutions for loan under the initiative, making recommendations concerning their fitness for travel. Inspect works of art on loan to the Gallery and carry out authorized treatments as needed.

Analyze works of art and produce technical analyses for inclusion in Gallery catalogs or publications related to the initiative. Ensure proper handling and storage of hazardous materials.
Advises and assists less experienced members of the staff, contract employees, fellows, and interns with treatment-related matters involving the Across the Nation (ATN) initiative.

Conducts research on artists’ methods and materials in support of conservation, especially as it relates to the Gallery’s collection and the Across the Nation initiative.

Contact Info/Link to Online Application: 

USAJOBS – Job Announcement

The post Paintings Conservator (National Gallery of Art) appeared first on Washington Conservation Guild.

Pay/Hours/Benefits: This is a full-time term-limited contract for one year, with the possibility to extend on an annual basis for a total of three, one-year terms. The position pays $27.50 per hour.

Institution/Working Address: The main work location will be at the C&O Canal National Historical Park’s headquarters in Williamsport, Maryland. Some travel to the Museum Resource Center in North Englewood, Maryland, and some locations throughout the park will be required. The C&O Canal includes 184.5 miles along the Potomac River and touches many communities. Mileage reimbursements are offered.

Application Deadline: For priority consideration all application materials must be submitted by May 22nd, 2026. However, applications will be considered until the position is filled so applications will be accepted past the aforementioned deadline as long as the position is open.

Brief Description:

The Museum and Archives Technician will assist the C&O Canal’s Museum Curator in managing a collection of approximately 170,000 items. All work follows National Park Service standards outlined in the NPS Museum Handbook, Vols. I– III, American Alliance of Museums standards, and applicable federal policies. The position reports to the C&O Canal Cultural Resources Program Manager, with the Museum Curator serving as the onsite technical advisor.

The C&O Canal preserves and interprets the story of the Chesapeake and Ohio Canal, one of the 19th century’s most significant engineering achievements. Constructed between 1828 and 1850, the canal runs 184.5 miles from Georgetown in Washington, D.C., to Cumberland, Maryland, passing through urban neighborhoods, small towns, farmland, and undeveloped landscapes.

Primary Duties:
● Assess, arrange, process, catalog, and store archival materials; prepare finding aids
● Distinguish and separate materials that fall under Records Management and not museum archives
● Conduct cleanup and reconciliation of data migrated to the newly implemented Collections
Management System (CMS)
● Resolve legacy cataloging issues, including vocabulary consistency, terminology accuracy, and spelling
● Assist with image file management, metadata creation, and migration to the new Digital Asset
Management System (DAMS)
● Identify, catalog, and properly rehouse archeological documentation
● Process uncataloged museum objects and enter new records into the CMS
● Digitize museum objects through photography, scanning, and metadata application
● Participate in cross-divisional teams to support online exhibit development
● Conduct annual inventory of museum collections
● Perform basic conservation and integrated pest management duties
● Follow all safety protocols and environmental monitoring procedures
● Other duties as assigned, based on park needs and the technician’s expertise

Contact Info/Link to Online Application: 

Museum and Archives Technician | National Council on Public History

Required application materials are as listed:

● Statement of interest (up to 1,000 words) describing your interest in museum and archival
work and your qualifications
● Resume including educational background, professional experience, and relevant skills
● Contact information for three professional references

The post Museum and Archives Technician (C&O Canal National Historical Park) appeared first on Washington Conservation Guild.

Pay/Hours/Benefits: This is a full-time, salaried position with a pay range of $64,241 – $86,971.78 per annum. GW offers a comprehensive benefit package that includes medical, dental, vision, life & disability insurance, time off & leave, retirement savings, tuition, well-being and various voluntary benefits. For program details and eligibility, please visit https://hr.gwu.edu/benefits-programs.

Institution/Working Address: The George Washington University Museum & The Textile Museum, The Avenir Foundation Conservation and Collections Resource Center (AFCCRC), 44930 Knoll Square, Ashburn, VA 20147.

Application Deadline: No deadline listed on the job advert.

Brief Description:

The George Washington University Museum and The Textile Museum fosters the study and appreciation of art, history, and culture—both within the university and throughout the global community. The Textile Museum is an institution with a nearly one-hundred-year history, an established audience, and a respected collection of textile art representing six continents and five millennia. The conservation lab began practice in the late 1920s.

GW is currently seeking an Associate Conservator to join The George Washington University Museum and The Textile Museum. The successful candidate will work within the conservation department and in close collaboration with other museum departments, including curatorial and exhibition production, collections management, education, communications, and advancement. Work is required at both the Foggy Bottom and Ashburn, Virginia Avenir Foundation Conservation and Collections Resource Center (AFCCRC) facilities.

The associate conservator’s main duties are in exhibition and outgoing loan preparation, and in preventive collections care. Supporting the museum’s priorities in emerging professional education, outreach, and collections-based research is also an important focus for the position.  

Contact Info/Link to Online Application: 

George Washington Employment Site | Associate Conservator

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March 28, 2026

On Saturday, March 28th, our members gathered for a morning full of hands-on exploration into the art of natural dyeing, working with marigold flowers to produce a range of vibrant yellow bandanas. Under the guidance of textile artist and instructor Fatima Janneh, we were introduced not only to the practical steps of the dye process, but also to the material properties that make plant-based dyes so fascinating.

We began with a discussion of what natural dyeing entails. Plant-based dyeing involves extracting pigments from materials such as flowers, leaves, bark, and roots by simmering them in water to create a dye bath. Common sources include onion skins, turmeric, beets, and marigolds—which produce yellows and oranges—as well as indigo and red cabbage, which can yield blues and purples under the right conditions. 

For this workshop, we worked with marigold flowers, which are particularly rich in pigments that produce warm, golden hues. However, Fatima also explained how other colors can be achieved. She noted that certain colors (especially “true” black and green) can be more challenging to achieve with natural dyes. Green, for instance, is not typically obtained directly from a single plant dye in a stable way; instead, it is often created through layering processes. An example of one common method is to first dye a textile yellow (as we did with marigolds), and then over dye it in an indigo bath. Indigo, unlike most plant dyes, requires a reduction process to become soluble in water, so once the fabric is dipped and then exposed to air, oxidation develops the blue color. When combined with the underlying yellow, the result is a range of greens.

It was emphasized that for a successful dye process—particularly on cellulose fibers like cotton, which do not readily bind with natural dyes in the way protein fibers such as wool or silk do—a number of additional materials, called mordants and modifiers, are required. It was also highlighted that synthetic fibers like acrylic are essentially plastic and  these polymers do not absorb plant dyes well at all, often resulting in little to no color uptake. This makes fiber choice an important first consideration in any natural dye process. Meanwhile, mordants such as alum help bind the dye to the fiber, improving both the intensity and longevity of the color. Modifiers, including substances like iron or vinegar, can be introduced during or after dyeing to shift the final hue; dulling, darkening, or otherwise altering the color in subtle or dramatic ways. Thus, our 100% cotton bandanas were pre-treated following these key steps prior to immersion dying:

1. Scouring (cleaning the textiles): This initial step removes any oils, residues, or impurities from the fabric that might prevent even dye absorption or cause unwanted staining.
2. Mordanting: This stage prepares the fiber to better accept the dye by creating sites within the material that can chemically bond with the pigment. For plant-based fibers, like cotton, this often involves the use of tannins followed by a mordant such as aluminum acetate. Unlike some processes, mordanting does not necessarily require heat and can be approached either scientifically (by calculating ratios based on the weight of the fiber) or more intuitively. Fatima shared that alum is commonly used for protein fibers like wool and silk, while aluminum acetate is generally preferred for cellulose fibers, like our bandana.
3. Chalk bath (calcium carbonate): This step helps to adjust the pH of the fabric and can influence how the dye ultimately appears. The bath can be warm but does not need to be especially hot to be effective.

While a pot of water was set to heat with an intuitive amount of marigold extract by Fatima to prepare the dye bath, we began designing our bandanas using a variety of tying techniques. Each member approached this step differently—folding, twisting, and binding the fabric according to their own creative instincts. Rubber bands and wooden clothespins were used to secure areas of the cloth that would resist the dye, ultimately shaping how the color would penetrate the fabric. These resist methods produced a wide range of patterns, from more tightly controlled geometric designs to loose, organic compositions.

With our pieces prepared, we submerged them into the marigold dye bath and allowed the color to develop for approximately 20 minutes per batch. Because of the size of the group, we worked in two rounds, which provided time to step back, observe one another’s processes, and talk more broadly about techniques, conservation, and related interests. For those aiming to achieve a deeper, more saturated yellow, some participants chose to dip their bandanas a second time, extending their total time in the dye bath to around 40 minutes. We wrote our names on a piece of tape with a Sharpie to easily identify our abstractly tied bandana throughout the process.

After sufficient soaking, the bandanas were removed and rinsed to remove excess dye and marigold residue. We then began taking off the pins and rubber bands to unwrap and reveal the finished patterns. Watching the transformation was one of the most satisfying parts of the workshop: everyone had created a completely unique design, often shaped as much by chance as by intention, highlighting the beautiful result of natural dyeing.

Throughout the process, Fatima shared lots of interesting factoids, offering encouragement to experiment while answering a wide range of questions from our members. Conversations moved easily between knitting practices and dye techniques, as well as the stability of natural pigments. We also talked about how everyday factors, like water and temperature, can really influence results. For example, water composition varies depending on geography; some places have higher levels of minerals or chlorine, which can subtly shift how colors develop and bond to the fabric. 

For those curious to keep experimenting, Fatima shared with us two resources she turns to for learning more about natural dyeing:

• The Art and Science of Natural Dyes: Principles, Experiments, and Results, written by a textile engineer and chemist Joy Boutrup and textile artist and practitioner Catharine Ellis
• The Canadian website Maiwa, where information about natural dyes, mordants and tannins, extracts, raw materials, additives, and more can be found. They have a school of textiles (offering courses and workshops), a journal, and a store.

This was a Washington Conservation Guild member event for the 2025-2026 season. Thank you to Fatima for sharing her knowledge, and to all of our members for participating. A special thank you to our host and treasurer Kaitlyn Munro Seymour for providing a space where we could be creative and a little messy!

By Daniella Briceño Villamil, Outreach/ Member Events Coordinator

The post Workshop Review: Natural Dye Workshop with Fatima Janneh appeared first on Washington Conservation Guild.