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1.
ABSTRACTCultural heritage has undergone a paradigm shift in recent decades. Museums in particular have changed from being a house of treasures to be admired by visitors, to being a place where objects provide the context for new interpretations. Today, visitors are provided with an opportunity to participate and co-create meaning. At the same time a UK government requirement for accountability has pushed the sector towards business management and professionalisation. This new context has forced conservators to respond by aligning themselves with these trends. In order to stay relevant conservators have to take on an active role in facilitating audience participation and increased access to collections, while at the same time improving their efficiency and accountability. Preservation frameworks have played a significant role in enabling conservators to respond to these changed needs within the sector. Crucially, preservation frameworks have encouraged conservation professionals to collaborate with colleagues from across an entire organisation. Having gained a broader understanding of the context within which they work, preservation frameworks have also allowed conservators to systematically collate and analyse data and present these to their stakeholders in a language understood by them. The review of a number of case studies reveals that preservation frameworks help conservators understand the bigger picture and be influential at the right levels. 相似文献
2.
《资料收集管理》2013,38(1-2):213-225
SUMMARY Maintaining the physical book in research libraries will be needed for some time. As a result, book conservation will be around. The question is Why have book conservation as part of a preservation program? Physical repair of books is only one aspect of the “continuum of care” of a preservation program. Having a team of preservation specialists address the full range of preservation issues allows each specialist, including book conservators, to play to her or his strengths. This “team” approach will result in more work being accomplished in all areas, including treatment, administrative, training, etc, effectively and efficiently. 相似文献
3.
Jane Henderson 《文物保护研究》2018,63(5):108-112
ABSTRACTThis paper examines how conservators engage with uncertainty when creating preventive conservation strategies. It argues that by recognising contexts in which uncertainty will be encountered conservators can develop effective management strategies. A typology of uncertainty explores a range of categories of uncertainty, their experience in preventive conservation and identifies distinct approaches to manage them. Managing uncertainty may include acts of defining its parameters, exposing and resolving through communication or protecting from with contingency. Whatever approach is adopted it must be accepted that uncertainty cannot be avoided. It is important therefore to aim to live well with uncertainty and the paper advocates for preventive conservation applications of strategies recommended in health care for patients with life-threatening illnesses. These strategies include working on things that can be controlled, goal setting, acceptance and factoring in emotions. The ability to identify contexts in which uncertainty is inbuilt should trigger those concerned with preventive conservation to activate strategies developed for managing and living well with uncertainty. 相似文献
4.
ABSTRACT This paper seeks to give insight into conservators' reflections about their practice and professional role. Ecclesiastical art from and in churches is an example where a variety of claims can be present and trigger diverse approaches to conservation and restoration. In this study we approached ecclesiastical art as a gateway to insight into conservator-colleagues' experiences and their views on decision-making, prevailing ethical boundaries, and the conservator's professional role. To gain access to the practitioners' own words and reasoning, in-depth interviews with seven conservators were chosen as a method. The interviews were analysed using a variant of qualitative analysis with an ideal of a theory-free starting point and by taking a constructivist and inductive approach. Through coding, themes and theories emerged from the data, which gave insight into a Norwegian status quo of practice, three emerging categories or topics caught our special interest and are described and discussed in this paper. The category, Conservation is a narrow path, gives an account of internal and external restrictions in the field. Internalised ethical restrictions and financial limitations are most often determining factors for conservator's decisions. The second category, Acting on behalf of objects, shows that conservators tend to feel obliged to the objects rather than to stakeholders. They understand their roles as defenders and mediators of the object. Conservators' potentially emotional closeness to the object is discussed. The experts should have the strongest voice, refers to the fact that stakeholders' opinions are only sparingly involved in decision-making among the interviewed conservators. Instead, projections of possible interests of stakeholders are often part of the conservators' basis for decision-making. However, external preconditions, as the mandates given by authorities, and financial issues play a role in the rather top-down nature of communication and decision-making. In light of (recent) claims for more people-based decision-making there seems to be a gap between theory and practice. Nonetheless, the authors argue that the conservator's engagement for and with the material object still is a necessary point of departure for conservation endeavors. 相似文献
5.
AbstractBasketry artifacts fabricated from spruce and cedar limb wood and root and the inner bark of yellow and western red cedar have been found in water-saturated archaeological sites in the Pacific Northwest since the mid-twentieth century. These artifacts range in age from a few centuries to more than 5000 years old. While these materials retain their overall physical structure due to burial in an anoxic environment they are degraded on the cellular level. Experiments and treatments performed by archaeologists and conservators over the past 50 years have attempted to stabilize these degraded structures and minimize splitting, crumbing, and distortion of the woven structures as they dried. Many of these tests and treatments are published in out-of-print conference proceedings or remain unpublished in conservation lab records. This review of tests and treatments as well as a current condition assessment of several collections brings this information together for the first time and allows conservators and archaeologists specializing in these treatments to see the broader arch of success and failure of the preservation of waterlogged basketry materials. 相似文献
6.
《文物保护研究》2013,58(3):30-33
AbstractIs the conservation profession dividing into two groups – specialized technicians often working in private practice, and generalists in the heritage sector whose work is often in preventive conservation covering a diverse range of materials? If so are we moving away from conservation specialists, who contribute to the wide range of processes involved with object care and research within particular curatorial disciplines? We examine the increasing distancing of conservators from collections and their curatorial colleagues and will assess how this is reflected in the changing nature of training courses, and the impact this may have on museums in the future. These issues are discussed with reference to the National Museum of Wales, which has recently undergone an externally refereed conservation review. The outcomes of this can be viewed in relation to other institutions employing conservators. 相似文献
7.
《文物保护研究》2013,58(2):147-153
AbstractThe compound 5-amino-2-mercapto-1,3,4-thiadiazole (AMT) is utilized in the conservation of archaeological and artistic bronze artifacts, for their protection and for the removal of corrosion products. Many authors have discussed the utility and efficacy of this, but few have studied the products resulting from the reaction of AMT with bronze or with the corrosion products of bronze; this leaves the restorer with many doubts concerning the acceptability of this method. This paper discusses the study of products obtained from the reaction of AMT with synthesized corrosion products of bronze (malachite, paratacamite and brochantite) and with the commercial bronze alloy TM 23 (Cu 72%, Pb 15%, Zn 8% and Sn 5%). It was found that the film obtained from the direct reaction of AMT with the bronze alloy can be AMT itself, or the metallic complex Cu(C2H2N3S2)2·H2O if AMT is applied in a solution of an oxidizing acid. These results are expected to be of value to conservation scientists and restorers/ conservators concerned with the use of AMT for the conservation of bronze artifacts. 相似文献
8.
Hannah Clare 《文物保护研究》2018,63(5):64-69
ABSTRACTTestimony from colleagues in the cultural sector suggests that there is a common perception of leaders as authoritarian, infallible and invulnerable. However, developing leaders soon come to understand that good leaders often have an authenticity of their own. Being able to embrace authentic leadership in this way requires confidence. It involves accepting vulnerabilities, learning to be comfortable making decisions without all the information, and daring to risk potential failure as the best way to encourage creativity, innovation and learning. Given this dichotomy, is there a potential for the development of leadership in conservation? This paper explores the unique challenges we face as conservators in a changing sector. In it, I reconnect with professional experiences of my own and those I gained as the first conservation fellow on the Clore Leadership Programme as well as examining testimony from others in the profession and the wider cultural sector. The ideas generated are supported by literature from a variety of sources inside and outside the conservation field. Starting from what draws people to conservation in the very beginning and working through to the leadership of the profession, the paper identifies four main areas of challenge for conservation in a twenty-first-century creative economy. These are around a lack of diversity, a lack of confidence, the strength of voice and perception and issues around support, for our decision-making and for the profession as a whole. The paper concludes that a new vision for the future of conservation could not only help rebalance the diverging preventive and remedial specialisms but also be instrumental in the perception, interpretation and preservation of cultural heritage. If we expand our horizons, the bigger picture of heritage and what it can achieve for the society could be crucial to us not only changing but thriving in the modern world. 相似文献
9.
Specialist publications are an important part of professional and disciplinary development. They serve to communicate research; enable the development of a shared, contestable, and expanding knowledge base; support the educational programmes that advance the profession; grow practice; and inform the evolution of the discipline. In conservation, professional and peer-reviewed journals and other forms of publications support cultural, organisational, and scientific development; facilitate new and improved forms of conservation professional practice; enable the growth of a distinctive research-led discipline; and help conservation to more effectively compete with other disciplines for influence and funding. This paper reports on the findings of a study that investigated conservators’ opinions and experiences of peer-reviewed publishing. This study examined the value conservators place on the dissemination of their research; the obstacles to, and incentives in publishing; the views held by conservators of the benefits of publication to themselves and the field; and the impact of the field's inherent interdisciplinarity on the pattern of conservation publishing. Eighty-six conservators (conservators and conservation scientists) and ten journal editors completed an online questionnaire focusing on the communication of knowledge within the field of cultural materials conservation. Findings suggest that while the peer review process is valued, a significant number who responded indicated a preference for forms of communication other than in peer review journals or publishing in general. 相似文献
10.
Maria Chatzidakis 《文物保护研究》2016,61(3):17-23
Street art, public murals, and graffiti are forms of contemporary art which flourish in the urban environment. The current socioeconomic and political crisis in Greece has rendered Athens a living city canvas that attracts artists, art lovers, young people, tourists, journalists, and photographers. The conservation of street art in extreme outdoor conditions is a new area of interest for conservation research and practice. Since 2010 the Conservation of Wall Paintings Laboratory of the Department of Conservation of Antiquities and Works of Art (CAWA) of the Technological Educational Institute (TEI), Athens has been engaged in a project to explore ethics, carry out documentation, and initiate new research into street art and its conservation. Since 2012, Street Art Conservators (St.a.co.), a team comprising academics, conservators, and students from CAWA has worked in the streets of Athens for the preservation of street art. The protection and conservation of street art require the creation of a critical mass of people who are interested in the study and preservation of street art, co-operative conservation work and research, and the documentation and digital mapping of street art as an alternative means for its preservation. 相似文献
11.
Miriam Clavir 《文物保护研究》2013,58(1):1-8
SummaryThis paper discusses the social history of the emergence of conservation as a profession distinct from traditional restoration. It proposes that the development of conservation as a distinct field came about through the evolution of an existing area of practice, in a changing conceptual climate which increasingly acknowledged the necessity for, and the legitimacy of the scientific model. This paper considers the changes in societal values that led conservators to hold their present ethical principles, values and beliefs, focusing on two in particular: the importance of preserving the integrity of the object, and the belief that the best way to do this is through the application of science. 相似文献
12.
ABSTRACTThe 2008 Wenchuan earthquake brought numerous issues to the attention of researchers of seismic mitigation in Chinese museums. After the Wenchuan earthquake, the structural design team of Chengdu Museum conducted a series of research projects on seismic mitigation and subway vibration control design of buildings. These projects included the following topics: optimization of design, numerical simulation of seismic performance, analysis of key technologies for the base isolation structure, in-depth studies on structural vibrations caused by the nearby subway, and proposals for reducing structural vibrations. In 2015, after the superstructure of Chengdu Museum was completed, conservators evaluated the safety of permanent exhibitions under earthquake conditions. Seismic protection devices were installed on the showcases according to the preventive conservation requirements for museum collections. Reinforced measures were used for museum collections according to the methods suggested in the document ‘Specification for seismic protection of museum collection’ (WW/T 0069-2015). The conservators also built a systematic platform for earthquake monitoring for museum collections. Preventive conservation studies on seismic protection and subway vibration control in Chengdu Museum are summarized and forecasted. 相似文献
13.
《Journal Of Archival Organization》2013,11(3):57-73
ABSTRACT The records of art conservators are important for many reasons. As people consider artwork a legacy of American culture so too will they also consider the records generated by individuals who have spent their working lives guaranteeing its long-term survival. Conservators and archival repositories need to work together to ensure that records relating to the treatment of art objects in their many forms be retained and made available to researchers generations from now. Some conservators and institutions have already begun to work together, most notably the conservators who have donated their papers to the Winterthur Museum. The American Institute for Conservation of Historic and Artistic Works and The Getty Conservation Institute organized a two-day roundtable discussion in May 2003, bringing conservators and archivists together to discuss the next steps in archiving the records of art conservators. 相似文献
14.
ABSTRACTClothesmoths catch data fromhistoric properties confirms numbers are on the increase in England. Citizen science research was conducted using Tineola bisselliella pheromone traps handed out from English Heritage properties from April to September 2017. One hundred and ninety-two participants recorded moth counts from residential properties in 42 counties in England. Using an average number of moths per trap, geographical spread indicates higher numbers in warmer southern counties of England. Pale-backed clothes moths Monopis crocicapitella were caught in significant numbers suggesting a new insect pest risk for historic house collections. Threshold numbers for clothes moths that could indicate an active infestation are proposed. Residential flats appear to be more vulnerable to clothes moth activity possibly related to the shared walls or spaces. The research was launched using a public relations campaign called ‘Operation Clothes Moth’ which generated major media activity across the internet, radio, television, newspapers and magazines. Public awareness of insect pest management, preventive conservation and the work of conservators and conservation scientists was significantly increased. 相似文献
15.
Jenny Dickens Antonio Rava Maria Perla Colombini Marcello Picollo Will Shank 《文物保护研究》2016,61(3):29-37
Keith Haring painted large outdoor murals in Melbourne, Australia, in 1984 (the Collingwood Mural) and at Pisa in Italy in 1989 (Tuttomondo). Recently, both murals have been analyzed and conserved by similar teams of conservators and scientists. The original appearance of the Collingwood Mural was severely compromised, and the original materials much degraded. Tuttomondo was somewhat altered visually but with less physical damage. There were initial suggestions to repaint Tuttomondo but these were dissipated by good communication of the analytical findings. In Melbourne, there was a high-profile and emotive campaign to have the Collingwood Mural repainted. Conservators and government were heavily criticized for supposedly ignoring the artist's wishes. However, detailed research into Haring's published statements revealed that conservation does respect his artistic aims. For the Collingwood Mural, conservators had to consider whether to reduce the visual disturbances which obscured the works. Practices documented by conservation theorists and routinely undertaken by conservators guided the decision to apply mechanically reversible re-integration. This made Haring's unique ‘line’ visible and accessible again, and pleased the public. The controversies showed how conservators must communicate clearly and tactfully; appreciate the feelings of the public and involve communities in conservation, without compromising rigorous scientific and curatorial research. 相似文献
16.
《文物保护研究》2013,58(3):111-125
AbstractThe problem of conservation of sound waterlogged oak and in particular the limitations of polyethylene glycol impregnation are briefly considered. Development of a new process involving dehydration with acetone and impregnation with rosin is described. Results pertaining to the experimental evaluation of the procedure are presented and suggest good success in its use. Applications of the process in the conservation of soft- and heavily waterlogged woods are described. 相似文献
17.
《文物保护研究》2013,58(3):172-182
AbstractThis paper provides an understanding of an under-explored aspect of the sharing of conservation decisions. In particular, it argues that conservation decisions are inherently shared in at least three senses. First, conservation is conceived as a field of shared values, principles, and decision-making methodology, and aspires to a universally shared ethic. This view is supported by the logical and ethical consistency of existing Codes of Ethics, and is made manifest with the aid of a conceptual model of what science is. Second, conservation decisions are conditioned by the identity of heritage entities. The values comprising the heritage identity of an entity transcend space and time boundaries; they are interrelated and interdependent and, as such, shared. Third, the benefits but also the harms stemming from conservation decisions and actions are distributed and shared among all people for whom the object of a conservation decision is heritage. As dictated by the do-no-harm principle, conservators have a duty to consider risks of such harms when making decisions. 相似文献
18.
AbstractThe long-term stabilization of marine archaeological iron, whether cast or wrought, continues to challenge conservators responsible for treatment of this material. Results and observations obtained from past treatments highlight the daunting, prolonged, and laborious efforts required to desalinate large and complex ferrous artifacts recovered from the ocean. In general, the higher an artifact's chloride level, the less stable it is. Consequently, any stabilization treatment must involve the removal of as much Cl?1 as possible without affecting the integrity of the corroded artifact. This problem is particularly acute with corroding cast iron objects that have formed thick, fragile, and highly unstable corrosion layers. Over the course of the twentieth century, conservators have used a variety of techniques in an attempt to mitigate the negative effects of chloride ions on iron artifacts and prevent disintegration. In spite of early promise, each of these stabilization techniques has significant disadvantages, particularly with regard to treatment efficiency, duration of treatment, and/or unacceptable risks to the artifact during treatment. For these reasons, conservators and conservation scientists at the Warren Lasch Conservation Center in Charleston, South Carolina, decided to look at the possibility of using subcritical fluids to stabilize archaeological iron. This paper compares the efficiency and effectiveness of traditional stabilization techniques (i.e. alkaline soaking and cathodic polarization) to subcritical fluids on wrought iron rivets and metal shavings from the H.L. Hunley submarine as well as Civil War era cast iron artillery shells recovered from a marine environment. 相似文献
19.
《文物保护研究》2013,58(3):7-11
AbstractChristian sacred art is not only an artistic and aesthetic phenomenon, but can also be seen as a manifestation of the divine, the objects becoming a presence of what they represent. A substantial proportion of this kind of art remains dispersed in churches and ecclesiastic treasuries without any special provision for its care and much is still in ceremonial use, continuing to be handled and moved. Recording by inventory and transfer to museums are only recent developments. Portugal has developed various strategies for the preservation of these collections, including the creation of Diocesan Sacred Art Commissions, diocesan museum networks where small museums and museological treasuries are maintained separately but have a common technical staff, a Secure Church Programme and temporary exhibitions, which play a role in conservation, promotion and public awareness. Although not conventional conservation, these actions have helped us to keep the memory of the past alive and let us carry it into the future. 相似文献
20.
The Hamburger Kunsthalle conservation department started a two-year funded project in 2015, which specifically covers the preservation of all ten slide-based artworks in the collection, with a total of about 1700 slides. The task at hand, to examine and conserve the slide-based artworks, is driven by the need within the profession to explore ways in which these works can continue to be displayed. This is new terrain for conservators of modern and contemporary art, whose responsibility is dedicated to a broad-ranging collection of artworks. From the viewpoint of a modern and contemporary art conservator with no training in time-based media conservation, the article describes the current conservation strategy of slide-based artworks, with case studies and their associated conservation decisions. 相似文献