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Helen Lindsay 《文物保护研究》2018,63(5):175-180
ABSTRACTCollections care describes actions taken to prevent or limit the deterioration of moveable cultural heritage and ‘collections care documentation’ (CCD) refers to the recording and retention of information relating to those activities. This paper describes the findings of a survey and targeted interviews with staff from a number of U.K. museums, archives and libraries. The results suggest that, while there is much good practice, some organisations face difficulties instituting a framework for CCD which covers all their activities effectively.Large and small organisations have varying challenges to face; the former with specialist staff working in separate departments and the latter with staff who carry out activities relating to preventive conservation but who may not have specialist knowledge. An efficient documentation structure, which is resilient and relevant to the organisation, can support and improve communication as well as raise awareness of the reasons for and methods of preventive conservation. This paper looks at the reasons why even basic practices can sometimes be difficult to achieve and presents ideas for identifying and overcoming barriers. As preventive conservators argue that specified actions influence the long-term sustainability of collections the evidence that allows verification those claims needs to be retained. In order to do this, a greater focus on what data to collect and why will enable the sector to align CCD with specific research questions. 相似文献
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Jessica Lewinsky 《文物保护研究》2018,63(5):170-174
ABSTRACTPreventive conservation plans must include the collaboration of all the different departments within an institution to be able to diagnose the situation, provide proper maintenance, and allocate a budget. Preventive conservation entails understanding the collection’s needs, organizational culture, institutional priorities, and risk factors. Beyond the intervention of objects, the conservator is the creator of guidelines and the implementer of solutions. In this paper, need-based approaches are provided showcasing how tailor-built preventive conservation plans became merged into the backbone of everyday activities. In the Louis C. Morton Auction House in Mexico City, diagnosis tools were adapted, redefining conservation terms within a business-oriented model to guarantee success. In the National Museum of Art in Mexico, the sustainable preservation plan categorized actions within their realization capability. Tasks were allocated to different departments and suppliers; outsourcing, not the responsibility, but the commitment of continuity with service providers via contracts. At the Israel Museum in Jerusalem, the complex conservation projects have focused on high standard continuity. Motivating people to participate in the steady innovation, an encyclopaedic museum must have not only to conserve its collections, but also to serve as an international example. 相似文献
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ABSTRACTOne of the aims of the European Protocol in Preventive Conservation (EPICO) research programme was to implement a simple and flexible assessment method applicable to the majority of historic houses. We present results to verify statistical methods for the application in the assessment of heterogeneous in collections historic houses. For a collection with less than five hundred objects, a complete inventory by two people is possible, in order to collect information about the objects and their condition. A sample is representative when it has the same characteristics as the population studied. In the case of a very small population it is difficult to obtain representative results: here the sample should be almost equal to the total population. Therefore significant work must be done prior to assessment to properly identify the characteristics of the mother population. In the absence of sufficient representativeness, the results obtained from a sample cannot be generalized to the population being studied. 相似文献
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ABSTRACTThe University of South Florida Libraries house and provide access to a collection of cultural heritage and 3D digital models. In an effort to provide greater access to these collections, a linked data project has been implemented. A metadata schema for the 3D cultural heritage objects which uses linked data is an excellent way to share these collections with other repositories, thus gaining global exposure and access to these valuable resources. This article will share the process of building the 3D cultural heritage metadata model as well as an assessment of the model and recommendations for future linked data projects. 相似文献
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ABSTRACTAspects of preventive conservation are central to the long-term preservation of archaeological sites such as Pompeii. Mitigating moisture ingress and its manifold effects on decay mechanisms such as salt degradation are of critical importance when planning durable conservation strategies. A suite of non-destructive techniques was used to diagnose decay mechanisms at an ancient tomb monument at the Porta Nocera Necropolis. Rising damp and salt contamination are shown to be actively contributing to on-going deterioration of the plaster surfaces. An existing shelter is shown to be inadequate in its protection. These initial results are used to inform a more in-depth, long-term survey as well as the design of a holistic preventive strategy. 相似文献
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《文物保护研究》2013,58(2):135-146
AbstractDust presents a physical risk to objects and reduces evidential value; it also creates a perception of poor standards of care. However, cleaning also imposes risks of damage, takes time and costs money. The presence of visitors induces much of the dust found in properties, so increasing or extending access has implications for housekeeping that are rarely discussed in economic terms, despite the fact that dust control represents the most expensive element of preventive conservation in historic houses. The range of preventive and protective measures that minimize the deposition of dust also carry costs that often relate to visitor flow. Simple economic calculations show the balance between the costs of cleaning and of other equipment and materials in National Trust properties. The cost per visitor initially reduces with increased numbers of people, but at high flow rates expenditure can increase because of the cost of cleaning. The per capita conservation costs become less than UK?2 per visitor at reasonable visitor flow rates (about 30000 per annum), although, in the calculations presented here for an idealized medium-sized property, costs begin to increase as visitor flow rises above 60000 per annum. Recognizing the economic importance of managing dust is thus essential in assessing the level of access consistent with maintaining appropriate standards of presentation and collections care. 相似文献
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Mariana Pinto 《文物保护研究》2013,58(7):381-386
ABSTRACTDuring the nineteenth century, chemists became increasingly engaged in the conservation treatment of polychrome surfaces. While collaborations between chemists and museum workers in charge of easel painting collections were mostly oriented towards the improvement of conservation practices, the involvement of chemists in the nascent field of archaeology was oriented towards material characterization, such as pigment analysis of polychrome surfaces. Since this type of analysis is destructive and damages the artwork, it could, therefore, be assumed that chemists were in these cases less concerned with the conservation of objects with an archaeological and historical provenance. On the contrary, my new reading of nineteenth-century English primary sources reporting pigment analysis shows that chemists also had ethical concerns about the physical integrity of archaeological objects and their conservation. This is apparent in the process in which paint samples were taken from the artworks for their subsequent analysis. 相似文献
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ABSTRACTCultural heritage is wonderfully diverse and as heritage preservation professionals, it is our duty to address the preventive conservation of all cultural heritages. However, there is no one set of guidelines, practices or rules that can be applied in all situations. A preventive conservator with strong technical and soft skills is essential in this situation. At the Winterthur/University of Delaware Program in Art Conservation (WUDPAC), preventive conservation has been an identifiable part of the curriculum since the early 1980s. From its establishment, the curriculum has evolved to include the teaching of both current day technical skills for the practice of preventive conservation and soft skills in teamwork, leadership, institutional priorities and goals identification, and written and oral communication. These are taught to all students in their first year and those that select the option of a preventive conservation minor in their second year. Recently, it has become clear that it is not possible to teach adequately both the technical and soft skills needed for the practice of preventive conservation within WUDPAC's existing minor area of study. Additional time is needed to study and develop the complex theories, abilities and requisite skills that characterize the preventive conservation specialty. This paper discusses the work to develop a curriculum for a WUDPAC preventive conservation major, the strong mandate to continue to teach both technical and soft skills, and the surprising resistance to the establishment of a preventive conservation major. 相似文献
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ABSTRACTIt has been widely acknowledged that reinstallations and re-executions of contemporary artworks substantially rely on available documentation. Especially for installations and performances it is crucial to record the artist’s intent, past iterations, and tacit knowledge involved in staging the artwork. The growing presence of contemporary artworks in museum collections increases the importance of documentation as a central focus of collection care. However, collections management systems have limitations in adequately presenting these often rich forms of documentation. Consequently, documentation required for presenting a specific complex artwork is often dispersed across multiple systems, drives, and dossiers inside various departments. In recent years, several initiatives responded to these challenges by implementing a digital platform supporting the conservation of contemporary art. Collaborative networked software such as wiki came into focus as a prominent choice for managing the related documentation. The wiki promises to integrate diverse material in one place and accommodate much-needed requirements such as multiple iterations of an artwork, relations between its elements, and multimedia content. This paper takes the case of San Francisco Museum of Modern Art (SFMOMA)’s experimental use of MediaWiki to determine whether and under what conditions a wiki is capable of supporting collection care sufficiently in terms of documenting time-based media art. The case further illustrates the consequence of adopting a content management system as knowledge base for conservation. While collections management systems are designed primarily to handle objects using forms, wikis are publishing platforms in the first place and provide a different kind of framework for artwork records. They are designed to employ text and media to compose articles. We propose to conceptualise this consequential role of conservator as a manager of content, an editor. 相似文献
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《文物保护研究》2013,58(3):12-16
AbstractThis study concerns a group of objects excavated in First World War trenches in France and Belgium and brought for conservation to the Institute of Archaeology, University College London. These objects were associated with unidentified human remains thought to be of soldiers killed in battles between 1914 and 1918. The contribution of the Institute to this project was to investigate the objects in relation to their context in an attempt to identify the human remains with which they were associated. The experience of working on sensitive material in a very particular context is discussed, and how this influenced the conservation context in which the decision-making process happened is described. It also addresses how some conservation boundaries were crossed, in order to contribute to a better understanding of life during the First World War, and discusses how material culture is valued differently in different contexts (and how this will influence conservation decisions). It concludes that neither object meaning nor conservation decisions can be viewed objectively and that conservation has to be viewed as a social process governed by economic, political, religious, social and cultural dynamics, rather than a primarily technical process. 相似文献
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ABSTRACTOutdoor sculptures are part of the sociocultural identity of cities, but are extremely vulnerable to deterioration due to exposure to harsh environmental conditions and climate change. Furthermore, deterioration by micro-organisms renders urgent the need to design protective coatings. This research proposes an integrated methodology for the development of innovative and sustainable nanofilms for applications in the area of art conservation, very specifically in the preventive conservation of outdoor sculptures. Gathering objective data for the characterization of the surface microbiota is important in order to design strategies that make use of bio or nanotechnology innovative coatings. Methodologies for the characterization of the microbiota present in a granite outdoor sculpture, followed by preliminary results on the application of protective antimicrobial coatings for surfaces of cultural objects are described. 相似文献
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Public visual spaces, populated by a blend of community murals, unauthorised street art, and historic painted mercantile signs, are often the mark of an urban environment that is both progressive and eclectic. Changes in the aesthetic and cultural value of these urban mural forms have led to an increase in the appreciation and, in some instances, promotion of their artistic merit and cultural significance as examples of public art. However, examining the significance of these works, with a view to implementing a conservation approach is problematic. This is due to a number of practical and theoretical considerations that are primarily a result of the ephemeral existence of urban murals outside conventional exhibition spaces, and issues associated with their often fragmented ownership and uncertain authorship. Consequently, larger thinking on the interpretation, conservation assessment, and advocacy for the conservation of urban murals are required. Key to defining and implementing such strategies is contextualising the public visual spaces that these murals occupy and, as part of this, the local and wider communities’ perception of these murals as culturally significant objects as well as fostering awareness and understanding of appropriate measures aimed at their conservation. This paper examines the role of citizen science, or crowd-sourcing, of local community members in establishing a conservation dialogue and generating conservation- relevant data on urban murals. It looks specifically at a project involving a collection of in situ historic painted mercantile signs — also known as ghost signs — in the City of Port Phillip, Melbourne, Australia. The project fostered the establishment of an informed and open dialogue between conservation specialists and participants from the local community on the significance of local ghost signs whilst transferring knowledge on conservation processes and assessment methods. Working directly with community members, a programme was designed in which conservation and community knowledge of these urban art forms, could be collected and exchanged across digital platforms. This enabled researchers to examine how citizen science can be utilised as a research tool as well as a means to advocate for the conservation of collections of urban murals. It created the opportunity to consider the role of non-specialists and shared authorities in the collection and collation of conservation- relevant data and how information generated from what we call citizen conservation projects, can inform the way in which conservators evaluate and prioritize the conservation of urban cultural heritage. The data gathered and interpreted proved to be the most effective means of ‘conserving’ these often ephemeral forms of cultural material. 相似文献
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ABSTRACTIt was decided to display the whole collection of King Tutankhamun in the Grand Egyptian Museum (GEM). The collection comprises approx. 5640 objects different in material and state of conservation. The conservation centre in the Grand Egyptian Museum (GEM-CC) bears the responsibility of conserving GEM collection, and contributing to the exhibition production processes to ensure the optimal preservation for the collection on display. In this paper, a survey of the collection's materials and condition was undertaken to evaluate the risks and corresponding deterioration occurred in the former location which should be mitigated in the new one. It also reports on the parameters which were fulfilled in the designs of King Tutankhamun galleries to guarantee implementing preventive conservation programmes in order to preserve the collection for future generations. 相似文献
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《文物保护研究》2013,58(3):1-6
AbstractIn 1900 a small group of Galician immigrants in New York City formed a self-help association. They displayed their state certificate of incorporation in a paperboard mat ornamented with textual and pictorial elements. In 2004 this wall plaque received conservation treatment for exhibition at the Library of Congress. Over the course of a century, this object went from representing a community to itself to representing a mechanism for self-preservation to the public. This paper explores context and interpretation; material integrity and cultural identity; and preserving the potential for discovering and creating meaning. It analyzes how context influences conservation and how conservation influences the historical trajectory of cultural materials. As an example it will consider the cultural context in which conservation has developed and its influence on the conservation treatment of the wall plaque. 相似文献
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Simon Lambert Catherine Antomarchi Kelly Johnson Julie Stevenson Marjolijn Debulpaep Theocharis Katrakazis 《文物保护研究》2018,63(5):156-163
ABSTRACTThe modern learning environment is evolving at a rapid pace. Technology can help developers of preventive conservation tools and learning resources for collections professionals to increase their impact and reach. However, it is crucial to keep the needs of users, and gaps in skills and knowledge at the forefront. This article examines preventive conservation tools and resources developed by the Canadian Conservation Institute (CCI) and ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property) over the past 30 years. In light of the results from a recent survey and research in the learning and development field, a set of orientations for future tool development are highlighted; these tools must be: need driven, user centered, emulating everyday experiences, social and informal, concise, mobile friendly, curated and open access. 相似文献
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Julia Proctor 《资料收集管理》2020,45(3):223-234
AbstractAcademic library collections have been built and shaped by a focus on dominant voices and perspectives. In order for collections to reflect the value librarianship places on diversity as well as represent multiple perspectives and serve users of diverse backgrounds and identities, collections need to be assessed for coverage of content related to diversity. This article discusses the challenges inherent in engaging in such an assessment, discusses collection assessment methods, and describes an analysis performed on the Penn State University Libraries collections focused on lesbian, gay, bisexual, transgender, and queer content. 相似文献
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A survey of museums in the United States sought to identify evidence of broad impact on the organisational culture and practices of museums in their relatioships with indiginous peoples as a result of the passage of the Native American Graves Protection and Repatriation Act 1990 (NAGPRA). NAGPRA establishes a process for the repatriation of human remains and other specified items held in museum collections to Native Americans who can prove they are lineal descendants or members of tribes which are culturally affiliated with identified items covered by the legislation. Effective repatriation programs are characterised by: * a genuine belief in the primary rights of indigenous people in the management of their cultural material presently held in museum collections; * a commitment to greater collaboration between the museum and indigenous people in the management of scientific research and public programs pertaining to items of indigenous cultural heritage; * practices which are indicative of an organisational culture which acts in ways which go beyond the minimum requirements of the legislation. Our research shows that museums are engaging in consultation with indigenous people in the management of collections of indigenous cultural heritage, and that this engagement is influencing conservation strategies. Museums espouse goals which promote external consultation, the involvement of indigenous people in their activities, respect for the cultural goals of indigenous people and a commitment to increasing public awareness of indigenous cultural heritage and social issues. However, only in the areas where NAGPRA has mandated it should happen—collections of human remains and secret/sacred material—is there evidence of communication and consultation, commitment of resources and sharing of authority with indigenous people consistent with the outcomes intended under NAGPRA. 相似文献
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ABSTRACTVibrations due to heavy construction work continue to be a major concern for museums. Although there has been an increase in research on the effect of vibrations on objects of cultural heritage in recent years, selecting measures to protect collections and remain open during construction work continues to be difficult because of a lack of data on what objects can actually withstand, the complexity of vibration loads, and the uniqueness of each situation. The major renovation of the Central Library in Liverpool, UK, which shared walls with the World Museum and Walker Art Gallery, both of which belong within National Museums Liverpool, showed how museums and other institutions can successfully deal with such situations. An integral approach was taken, beginning with an extensive risk analysis to determine which objects could remain on display, which needed extra protection and regular condition monitoring, and which had to be removed. The museums then negotiated a vibration protocol and action plan with the contractors, including continuous monitoring, and trigger levels requiring consultation or work stoppage. Vibration data were also stored and used for later analysis. This integral approach was successful in protecting the collections on exhibition, with only two incidents of reported damage directly related to vibrations. A combination of museum staff experience, excellent communications with the contractors, and some flexibility in defining vibration limits provided a successful recipe for both museums. The analysis of the vibration data using the basic engineering concept of the Palmgren-Miner rule, supports a more flexible approach to setting vibration limits based on recently published guidelines. 相似文献
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ABSTRACTWorking on preventive conservation in Italy is difficult but not impossible. After small successes and setbacks convincing museums to adopt elements of preventive conservation in the 1990s, the first author (Rossi Doria) was contracted for 15 years to preserve the historic carriages and associated objects of the Presidency of the Republic of Italy. This required patience to overcome or circumvent obstacles such as an inflexible bureaucracy and the absence of any formal recognition of preventive conservation within the educational and contractual systems for heritage conservation. The key factors in his success were the support of the curators, the financial and planning autonomy of the Presidency, and the obvious need for conservation and preservation of these elegant and complex objects. The program began in 2001 with the recovery of the forgotten collection from inappropriate storage in several locations. The entire collection was surveyed and recorded, not only the carriages but also thousands of harnesses, saddles, clothing, fabrics, weapons and memorabilia. Multiple preventive and interventive actions were undertaken, such as pest eradication for all sensitive materials, environmental surveys, and everyday maintenance, as well as complex treatments for the ornate carriages. Analysis by country of published articles on preventive conservation and of IIC membership both confirm that the topic is not as well established in Italy as in many other countries. Some reasons and solutions are proposed. 相似文献