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1.
《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
2.
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
3.
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
4.
AbstractLittle has been written about the roles of conservators in regard to the preservation of human remains. This article examines the new challenges that face conservators as we become more involved with human remains under the new laws and approaches that protect indigenous community rights. The authors explore three areas critical to this debate, namely conservation expertise, training and outreach. Three scenarios for the conservator's role are presented. The authors suggest conservators should aim for the third role, that of ‘contributing colleague’, especially in the multidisciplinary and highly sensitive area involving the study of human remains. Also presented is a case study involving teamwork with the Kennewick Man remains. Though the discussion is limited to applications of preservation issues to human remains, the concepts have wider applications in the conservation field in general. 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.
When dealing with contemporary art, conservators have to address not only the material aspects of the artwork but also other highly complex issues. The Argentinian artist Leon Ferrari is a representative example. He created avant-garde art installations but also worked with traditional techniques. His works raise dilemmas over concepts such as authorship, authenticity, legitimacy of art. Some of his artworks only interested him as a means to express his opinions and he was not concerned about alterations in their appearance. Therefore, what should be kept in them is not in an area of certainty for conservators. An essential key for achieving a responsible and respectful conservation result, is to understand the ideology involved in each ‘art piece’ created by Ferrari. 相似文献
7.
Sherri Irvin Author Vitae 《Museum Management and Curatorship》2006,21(2):143-156
In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. 相似文献
8.
Kate Fulcher 《文物保护研究》2017,62(4):210-222
The conservation of wooden objects is complicated by their response to changes in their environment. In particular, filling voids in wooden objects can be difficult when their dimensions might be expected to alter over time. A short survey of conservators showed that a wide variety of materials have been, and are being used for this purpose. Following conservation work undertaken on a wooden coffin, the author wished to investigate the properties of cellulosic materials and their suitability in the conservation of wooden objects. This paper shares the results of experiments that were conducted to determine the way in which hydroxypropyl cellulose (HPC) and paper pulp fills respond in various conditions, as compared to other fill materials used by conservators. The compatibility of the HPC and paper pulp fills with wood is satisfactory enough to be able to recommend their use in the conservation of wooden artefacts, but ideally further experiments would be carried out, and on a wider variety of fill materials. 相似文献
9.
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
10.
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
11.
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
12.
An analysis of the impact of stakeholder consultation during the conservation decision-making processes is presented. Defining and finding opportunities for stakeholder communication within conservation work is an ethical necessity when working with cultural heritage, but the limits and practice of this necessity are less clear. Case studies are used to explore which aspects of the conservation process stakeholders are most likely to be consulted about, and reviews the impact of their views. It asks whether conservators have a preference in which decisions they are prepared to share with stakeholders across three aspects of conservation: the initial appraisal, treatment and the display or storage. Where consultation relates to treatment, conservators are more likely to fall back on their own technical authority except when those consulted are regarded as fellow professionals. Other categories of stakeholder such as artists, originating communities, and religious groups were found to be more constructively consulted on the understanding of the object and on care related to display and storage. Conservators should be offered more explicit guidance on the ethics of consultation, the aspects of consultation that they should engage with and on the ethical ways to deal with conflict arising from consultation. 相似文献
13.
Conserving ourselves: Embedding significance into conservation decision-making in graduate education
Ellen Pearlstein 《文物保护研究》2017,62(8):435-444
Graduate conservation students are well educated in many aspects of their work; however, it is difficult in the classroom to teach students how to base their conservation decisions on aspects of cultural significance. It is widely acknowledged that conservation decisions are not neutral, that they depend on cultural context and upon the predilections of the conservator and the owning individual or institution. Partnerships between community members and conservators have had a long history within conservation practices described as ‘ethnographic’, and such methods have arguably influenced working practices within other conservation specialties. A graduate conservation class is described in which students conserved important heritage items belonging to their classmates, in an environment where access to discoveries of significance were encouraged for their ability to inform preservation decisions. Cases are described that link decisions with specific values. 相似文献
14.
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
15.
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
16.
《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
17.
《文物保护研究》2013,58(4):245-252
AbstractCross sections are frequently used in the stratigraphic study of pictorial structures. Thanks to cross sections, it is possible to study and record original and non-original strata that may provide important information regarding the artist's technique and later restoration processes. This information helps conservators design different strategies in processes such as cleaning. However, it is often in cleaning where the advantages and limitations of cross sections become obvious. When dealing with a complex structure, cross sections may not be enough to record in a comprehensive and accurate manner all the strata removed during cleaning. In some cases, the conservator may obtain during cleaning a great amount of stratigraphic information that is not visible in the cross sections. Therefore, it may be necessary to resort to other recording systems, such as the stratigraphic unit recording sheet and the stratigraphic diagram, which are frequently used in archaeological stratigraphy. This article demonstrates how cross-section analysis was combined with stratigraphic study during the cleaning of two panel paintings to gain an improved understanding of their complicated layer structure. 相似文献
18.
19.
《文物保护研究》2013,58(4):242-248
AbstractDilute solutions of epoxy resins have been used successfully in the past to consolidate deteriorated, porous stone. However, the appearance change (darkening, yellowing) on curing has proved to be a deterrent to the wider use of these materials by conservators. In the study reported here, it is shown that solvent washing to remove surface-deposited resin and exposure to sunlight are effective methods for restoring the original visual appearance of consolidated outdoor stone. 相似文献
20.
This paper examines the preservation and curatorial approaches explored for the exhibition Silent Explosion: Ivor Davies and Destruction in Art at Amgueddfa Cymru – National Museum Wales (November 2015–March 2016). The collaboration between the artist, curator/researcher, and conservators is considered and the evolving and flexible way in which transient pieces were presented/re-presented is described. The paper offers a case study in the context of this exhibition and argues that regardless of whether it is in traditional media (such as painting) or as time-based media (unstable and open to interpretation), Davies' work challenges a perception of artworks as finished, single-authored objects. 相似文献