DOCSLIB.ORG

A Closer Look: Conservation of Paintings Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Closer Look: Conservation of Paintings Ebook A CLOSER LOOK: CONSERVATION OF PAINTINGS PDF, EPUB, EBOOK David Bomford,Jill Dunkerton,Martin Wyld | 96 pages | 25 Aug 2009 | National Gallery Company Ltd | 9781857094411 | English | London, United Kingdom A Closer Look: Conservation of Paintings PDF Book Surface cleaning on encaustic paintings can typically be done with distilled water and swabs is sufficient. Christina rated it it was amazing Aug 27, Analysis of modern paints. Help Learn to edit Community portal Recent changes Upload file. These pollutants can be physical, chemical, or biological. The National Gallery. Christine rated it really liked it Sep 01, The number of layers may vary, and each can be left in its natural transparent state, or colored with pigments to create Lacquer painting. Graciela S. Washington D. Scroll paintings often are multiple layers of paper and silk attached to wooden bars called a stave and dowel. Collector's Guide. Due to its thin washes and light colors, watercolor paintings are very light sensitive. There are no discussion topics on this book yet. Damage can be mitigated with proper relative humidity levels and storing of textiles in acid-free tissue or clean cotton sheets. Cradling was previously used to correct warping by thinning the original structural support and then adhering the cradle to the reverse side of the support. Korrena added it Mar 27, Also, due to their exposed support they are vulnerable to damage from dirt, dust, and pollutants. The intensity of fluorescent paints can decline quite rapidly, making it difficult for conservators to care for. Avoiding exposure to unfiltered daylight and fluorescent lamps can help to prevent this type of damamge. Council on Monuments and Sites. Download as PDF Printable version. Museum Registration Methods 5th Edition. We have removed the tickets from your shopping cart. These techniques and equipment include using padding lifts and dollies, moving small, fragile objects on carts instead of carrying by hand; lifting objects from underneath by their sturdiest part; and taking extra time and care when on ladders or stairs. A Closer Look: Conservation of Paintings Writer Aspergillus: Molecular Biology and Genomics. Get A Copy. Gridley, Ed. Nevertheless, if paintings are obscured by discolored varnishes and old repaints, they are cleaned, and this has often led to anxiety and debate as long-admired images are transformed. Conservation treatments require significant research as the variations in technique and materials among Asian scroll and screen paintings is great. To book tickets for this date you need to be a National Gallery Member. Subscribe to hear when New Releases or Catalogs are ready! Both visible and ultraviolet light can cause damage to paintings. If you do not agree to our use of cookies, your use of our website may be impaired. The effects of these pollutants includes deterioration of the object, acidification, discoloration or staining on an object, speed up degradation processes caused by oxygen, water vapor, or other pollutants. Art handler Collection manager Conservator-restorer Conservation scientist Conservation technician Curator Exhibition designer Mount maker Objects conservator Paintings conservator Photograph conservator Preservationist Registrar museum Textile conservator. Namespaces Article Talk. Rating details. Treatment methods may include rejoining split wooden panels, mending torn fabric, or consolidating lifting paint flakes. Britta marked it as to-read Oct 09, Treatments to lacquer paintings may include consolidation and repair work before or after cleaning. Works of art like watercolors and Japanese prints are especially vulnerable to fading. Acrylic paint dries in as little as thirty minutes, and dries by the evaporation of solvent of water. Frescos can be repaired by methods of detaching sections of the fresco. This may cause the upper layers to slide or detach and cause irreversible damage. Mereca rated it it was ok Jan 09, Serita Rana rated it really liked it Sep 05, Pastels that are made of pigment particles bound together with a binding agent, and oil pastels that have pigments mixed with wax and non-drying oil. High humidity causes warping, splitting, buckling, or dimples. Re-lining or lining treatments was used to added support to the original canvas until it was determined that it created more damage. The effects of these pollutants can include discoloration or corrosion of a paintings surface. A Closer Look: Conservation of Paintings Reviews Paul Getty Museum, Los Angeles. Britta marked it as to-read Oct 09, Andreas Galanos rated it really liked it May 25, Retrieved 13 April CERO Art. Surface cleaning on encaustic paintings can typically be done with distilled water and swabs is sufficient. Thoughts Left Visible. Washington, D. These overglaze decorations are susceptible to abrasions or chemical damage from cleaning and handling. Please click here to confirm that you accept OR click here to proceed without cookies being used except for cookies which are strictly necessary. The series has been enhanced with a stronger format, attractive design, new photography, and additional information. We should always ask what is original and what is important, for these are not always the same thing. Their effects can include acidification of papers, corrosion of metals, discoloration of colorants, and efflorescence of calcium-based objects. This is a growing concern for artists and conservators as removal causes some degree of damage to the original paint. From Urbino to Rome. Monitoring environmental conditions, limiting visitor access, and temporary closures to public access can be used to help preserve the paintings. While the fluorescent paint layers reflect light, the paint layer darkens over time and decreases in fluorescence. Namespaces Article Talk. These ingredients are mixed together to create a thick paste that dries quickly, but can take six to twelve months before it completely cures. The philosophy of modern conservation is different from that of previous eras: the emphasis now is on long-term stabilization by methods that alter the structure of a painting as little as possible. Works of art like watercolors and Japanese prints are especially vulnerable to fading. The Book and Paper Group Annual. Using good protective measures such as attaching a rigid backing to a painting on canvas provides several protections. This may cause the upper layers to slide or detach and cause irreversible damage. Martin Wyld Contributor. Cleaning old and yellowing varnish, and revarnish the painting. A Closer Look: Conservation of Paintings Read Online High humidity causes warping, splitting, buckling, or dimples. Ideally, buildings with frescos would be outfitted with central air with humidity adjusting features to keep the paintings in a cool and dry environment with low humidity. Preventive measures that may be taken to protect paintings from pests include upgrading building structures to obstruct pest entry, installing better cabinetry with good seals, better control of temperature and humidity in collections and storage areas, keeping food and other organic materials from collection areas, and treatment of outbreaks. The movement of objects places an object at a much greater risk of damage than when it is on display or in storage. Silva rated it it was amazing Jul 06, These include: "silver, tin leaf, iron with tin on either side, copper, or copper coated with silver, tin, lead, or zinc. From Wikipedia, the free encyclopedia. Conservators need to analyze the inner layers of paintings and their support to identify pigments and unstable layers. University Press of New England. There are two types of Acrylic paints used in acrylic paintings. Intrinsic pollutants are composite objects that have compounds that are harmful to other parts of an object. Goodreads helps you keep track of books you want to read. Preserving the both the paint layer and the support wall is crucial. No trivia or quizzes yet. Nicholas Penny. Miss Florence M Hallett rated it liked it Jul 27, Metal [15]. These overglaze decorations are susceptible to abrasions or chemical damage from cleaning and handling. Southeast Conservation and Restoration. While the fluorescent paint layers reflect light, the paint layer darkens over time and decreases in fluorescence. Physical Degradation - Evident with cracking of layers. Feb 05, Madeleine Emerald Thiele rated it really liked it. https://files8.webydo.com/9583034/UploadedFiles/2BF3737B-C080-6AF6-5713-02FBC9D28031.pdf https://files8.webydo.com/9583843/UploadedFiles/B21ED3C6-56D1-19E9-6493-73F5892262F0.pdf https://files8.webydo.com/9582842/UploadedFiles/1495EC9C-C25C-0C78-FA12-3B2986BCD250.pdf https://files8.webydo.com/9583732/UploadedFiles/CF37D23E-C739-D766-5329-2B7123F5728D.pdf https://cdn.starwebserver.se/shops/razmusblomqvistao/files/as-i-crossed-a-bridge-of-dreams-recollections-of-a-woman-in-eleventh-century- japan-855.pdf https://files8.webydo.com/9582725/UploadedFiles/2D937A83-F02D-263B-11D0-F28ED7E96039.pdf https://files8.webydo.com/9583515/UploadedFiles/ED8A980E-9C84-7421-0CF1-5C7DC8A75E80.pdf.
Load more

Recommended publications
  • Kayaks Quyanaasinaq
    FREE ADMISSION November 25 – December 23 Looking for something to do with your friends and family this holiday season? If you’re a current member, you already enjoy free admission to the Alutiiq Museum. Now, thanks to the generous support of KeyBank, everyone gets in for free between November 25 and December 23! Add a little local culture to your holidays with a visit to the Alutiiq Museum, a gift to our community from KeyBank. The Quarterly Newsletter of the Alutiiq Museum Volume 20, Issue 4 | Spring 2016 New Exhibit Features Qayat - Kayaks rom driftwood, animal skins, tendon and baleen, Alutiiq people Ethnology the boat is a rare, complete example of the graceful, light, Fcreated qayat that were expertly designed for Kodiak’s notoriously and flexible Alutiiq qayaq. windy waters. Working with stone and bone tools, and using the Adjacent to the historic vessel is a qayaq frame. Carved by Alfred proportions of the human body as a measuring guide, men built boats Naumoff in 2014, this piece illustrates the internal framework of that permitted swift, secure travel through ocean waters. For the traditional boats. Pieces of a qayaq were never nailed together, but Alutiiq, qayat were a lifeline. They allowed people to harvest fish and carefully lashed to allow the boat to bend in the waves. Naumoff is sea mammals from the ocean, to travel and trade over great distances, one of just a handful of contemporary Alutiiq kayak builders, and his and to carry supplies home. In coastal Alaska, the qayaq remains a knowledge has been informed by studies of historic boats.
    [Show full text]
  • Century American Gilded Picture Frames Hugh Glover
    Tech Notes, Fall 2006 Care and use of 19th-century American gilded picture frames Hugh Glover icture frames are a component of most art collections and are subject to wear and tear in their functional role surrounding paint- P ings. Damage to frames occurs during exhibition, storage, and travel, and is caused by handling, hanging processes, adverse environments, neglect, and irreversible restorations. Picture frames are maintained by a variety of preservation specialist and their preservation interests have only rarely been addressed. The following is Section 4 of a larger paper, “A Description of 19th- Century American Gilded Picture Frames and an Outline of their Modern Use and Conservation,” presented in June to the Wooden Artifact Group at the 2006 annual meeting of AIC in Providence, Rhode Island. This sec- tion addresses general preservation, handling and preparation of frames for exhibition. Environment Gilded wood objects are ultra sensitive to environmental conditions and are probably more sensitive than most paintings. Gilded wood in adverse climates experiences detachment and loss of gilding/or- nament, while the accumulation of grime leads to surface darkening and cleaning campaigns that may well cause damage. The protected bright gilding that survives on shadow boxed frames of the second half-century illustrates how more exposed gilding has now been altered by grime, abrasion, and staining from moisture and grease during handling. Handling All gilded objects should be handled with non-marring gloves to avoid abrasions and staining, and even paper towels or cotton cloth will suffice. In practice, however, gilded frames are still handled with bare hands as the frame is considered a safe means of handling the artwork.
    [Show full text]
  • January 28, 2021 Introductions Faculty
    Art Conservation Open House January 28, 2021 Introductions Faculty Debra Hess Norris Dr. Jocelyn Alcántara-García Brian Baade Maddie Hagerman Dr. Joyce Hill Stoner Nina Owczarek Photograph Conservator Conservation Scientist Paintings Conservator Objects Conservator Paintings Conservator Objects Conservator Chair and Professor of Photograph Associate Professor Assistant Professor Instructor Edward F. and Elizabeth Goodman Rosenberg Assistant Professor Conservation Professor of Material Culture Unidel Henry Francis du Pont Chair Students Director, Preservation Studies Doctoral Program Annabelle Camp Kelsey Marino Katie Rovito Miriam-Helene Rudd Art conservation major, Class of 2019 Art conservation major, Class of 2020 WUDPAC Class of 2022 Senior art conservation major, WUDPAC Class of 2022 Preprogram conservator Paintings major Class of 2021 Textile major, organic objects minor President of the Art Conservation Club What is art conservation? • Art conservation is the field dedicated to preserving cultural property • Preventive and interventive • Conservation is an interdisciplinary field that relies heavily on chemistry, art history, history, anthropology, ethics, and art Laura Sankary cleans a porcelain plate during an internship at UD Art Conservation at the University of Delaware • Three programs • Undergraduate degree (BA or BS) • Winterthur/University of Delaware Program in Art Conservation or WUDPAC (MS) at Winterthur Museum, Garden & Library near Wilmington, DE • Doctorate in Preservation Studies (PhD) Miriam-Helene Rudd cleans a
    [Show full text]
  • Guidelines for the Field Collection of Archaeological Materials and Standard Operating Procedures for Curating Department of Defense Archaeological Collections
    Guidelines for the Field Collection of Archaeological Materials and Standard Operating Procedures for Curating Department of Defense Archaeological Collections Prepared for the Legacy Resource Management Program Office Legacy Project No. 98-1714 Mandatory Center of Expertise for the Curation and Management of Archaeological Collections Form Approved REPORT DOCUMENTATION PAGE OMB No. 0704-0188 Public reporting burden for this collection of information is estimated to average 1 hour per response, including the time for reviewing instructions, searching existing data sources, gathering and maintaining the data needed, and completing and reviewing the collection of information. Send comments regarding this burden estimate or any other aspect of this collection of information, including suggestions for reducing this burden, to Washington Headquarters Services, Directorate for Information Operations and Reports, 1215 Jefferson Davis Highway, Suite 1204, Arlington, VA 22202-4302, and to the Office of Management and Budget, Paperwork Reduction Project (0704-0188), Washington, DC 20503. 1. AGENCY USE ONLY (Leave blank) 2. REPORT DATE 1999 3. REPORT TYPE AND DATES COVERED 4. TITLE AND SUBTITLE 5. FUNDING NUMBERS Guidelines for the Field Collection of Archaeological Materials and Standard Operating Procedures for Curation Department of Defense Archaeological Collections 6. AUTHORS Suzanne Griset and Marc Kodack 7. PERFORMING ORGANIZATION NAME(S) AND ADDRESS(ES) PERFORMING ORGANIZATION REPORT NUMBER U.S. Army Corps of Engineers, St. Louis District 1222 Spruce Street (CEMVS-ED-Z) St. Louis, Missouri 63103-2833 9. SPONSORING/MONITORING AGENCY NAME(S) AND ADDRESS(ES) 10. SPONSORING/MONITORING AGENCY Legacy Resource Management Program Office REPORT NUMBER Office of Deputy Under Secretary of Defense (Environmental Security) Legacy Project No.
    [Show full text]
  • Collection Policy
    COLLECTION POLICY Collecting is at the heart of the Witte Museum’s mission and must be done with clear purpose and well-articulated guidelines. The museum’s Collection Plan provides the guidelines for what the museum will collect. The Collection Policy sets forth the professional standards and responsibilities for the care and management of collections as required of an accredited museum. The Collections Department Procedures Manual covers procedures for implementing this policy. This policy should be reviewed every five years or as necessary to reflect changes in staff, strategic plan, Collection Plan, or museum practices at large. I. MISSION Statement The Witte Museum promotes lifelong learning through innovative exhibitions, programs, and collections in natural history, science, and South Texas heritage II. VISION STATEMENT Through innovative programs in history, science, and culture the Witte Museum enriches lives, promotes a quality of life for all South Texas people and generates a legacy of knowledge. III. VALUES Learning organization Collection Stewardship Quality programs and exhibitions Fiscal stability Environmental stewardship Professional ethic Welcoming environment Approved 09/20/2017 1 IV. TYPES OF COLLECTIONS The Witte Museum possesses five types of collections: Accessioned, Library, Research, Living, and Educational. The Witte shall designate at the time of acquisition the collection category to which material is assigned. The assigned category may change as the priorities and collections of the Witte evolve. Accessioned Collections Items in the Accessioned Collections shall relate directly to the Mission Statement of the Witte and shall be used solely for exhibitions, research, publications, exhibition loans, education, and Witte branding and merchandising. The documentation, care and disposition of accessioned items are governed by this policy and museum best practices.
    [Show full text]
  • Indiana Archaeology
    INDIANA ARCHAEOLOGY Volume 5 Number 2 2010/2011 Indiana Department of Natural Resources Division of Historic Preservation and Archaeology (DHPA) ACKNOWLEDGMENTS Indiana Department of Natural Resources Robert E. Carter, Jr., Director and State Historic Preservation Officer Division of Historic Preservation and Archaeology (DHPA) James A. Glass, Ph.D., Director and Deputy State Historic Preservation Officer DHPA Archaeology Staff James R. Jones III, Ph.D., State Archaeologist Amy L. Johnson Cathy L. Draeger-Williams Cathy A. Carson Wade T. Tharp Editors James R. Jones III, Ph.D., State Archaeologist Amy L. Johnson, Senior Archaeologist and Archaeology Outreach Coordinator Cathy A. Carson, Records Check Coordinator Publication Layout: Amy L. Johnson Additional acknowledgments: The editors wish to thank the authors of the submitted articles, as well as all of those who participated in, and contributed to, the archaeological projects which are highlighted. Cover design: The images which are featured on the cover are from several of the individual articles included in this journal. Mission Statement: The Division of Historic Preservation and Archaeology promotes the conservation of Indiana’s cultural resources through public education efforts, financial incentives including several grant and tax credit programs, and the administration of state and federally mandated legislation. 2 For further information contact: Division of Historic Preservation and Archaeology 402 W. Washington Street, Room W274 Indianapolis, Indiana 46204-2739 Phone: 317/232-1646 Email: [email protected] www.IN.gov/dnr/historic 2010/2011 3 Indiana Archaeology Volume 5 Number 2 TABLE OF CONTENTS Authors of articles were responsible for ensuring that proper permission for the use of any images in their articles was obtained.
    [Show full text]
  • Boost the Conservation Signal! by Suzy Morgan, for EMG FAIC News 10
    January 2015 Vol. 40, No. 1 Inside From the Executive Director 2 AIC News 5 Annual Meeting 9 Boost the Conservation Signal! By Suzy Morgan, for EMG FAIC News 10 JAIC News 12 The uses of social media for communicating and outreach have been widely covered in the library, museum, and popular literature. Has New Publications 12 social media just been a fad, or does it have real implications for the future of conservation outreach and the changing public perception People 13 of conservators? A few recent social media “events” have shown that COLUMN conservators and allied professionals have found new and creative SPONSORED In Memoriam 13 ways to successfully utilize these tools. Many of our allies in other BY EM G professions, such as libraries, archives, and museums, have already Conservation Training Programs 15 been using these tools to promote their existing blogs and websites, and communicate Specialty Group Columns 16 with their readers in a more informal and colloquial way. This article will describe how cultural heritage professionals have been using these tools to increase awareness of Network Columns 23 conservation activities and preservation issues, both within and without the field. Grants & Fellowships 24 #5DaysOfPreservation and Going Viral In July 2014, Kevin Driedger, the author of the blog Library Preservation 2, started a social Courses, Conferences, & Seminars 25 media project that he dubbed #5DaysOfPreservation. He described his intent for the project in an email sent to ALA’s Preservation Awareness Discussion Group list: Positions, Internships & Fellowships 29 “The activities that fall under the umbrella of preservation are vast, growing, and often have characteristics specific to individuals and institutions.
    [Show full text]
  • The Art of Resilience Acknowledgments
    The Art of 2019 Catalog Disclaimer All images of the artworks in this publication are the property of the respective artists. On the cover (clockwise from top left) Yky, Shakes p. 12 Justin Wood, March Towards Extinction p. 6 Pitsho Mafolo, Redefining Life p. 2 Adrien Segal, Trends in Water Use p. 19 The Art of The World Bank Group, Washington, DC, October 29, 2019–January 19, 2020 The ArtScience Museum and Singapore Expo Center, Singapore, May 16, 2020–May 24, 2020 artofresilience.art Table of Contents Acknowledgments p. iii Foreword p. iv Introduction p. vi Overview p. vi Why Art? p. vi The Process p. vii The Artwork p. viii Our Hope p. x Art as a Call to Action p. 1 Art-Science Collaboration as a Resource for Innovation p. 17 Engaging Communities Through Public and Participatory Arts p. 25 Guidance for Practitioners p. 33 ii :: The Art of Resilience Acknowledgments Contributors JD Talasek, Director of Cultural Programs, The Art of Resilience was conceived by the National Academy of Sciences Global Facility for Disaster Reduction and Emma Phillips Solomon, Sr. Disaster Risk Recovery (GFDRR) Labs team and the World Management Specialist, GFDRR Labs Bank Group Art Program. The exhibition Robert Soden, Sr. Disaster Risk Management features artists selected through a competitive Consultant, GFDRR Labs process. Participation was open to any emerging or established artist using his, her, Research and Catalogue Entries or their art to help build society’s resilience to Juliana Biondo, Assistant Curator and Project natural hazards. Artworks of any medium were Manager, World Bank Group Art Program accepted, and artists included any person Editorial Coordination engaged in creative endeavors.
    [Show full text]
  • Winning the Denise Lyall Prize with William Nicholson
    THE MAGAZINE OF THE INSTITUTE OF CONSERVATION • DECEMBER 2018 • ISSUE 79 Winning the Denise Lyall Prize with William Nicholson Also in this issue A magnetic solution • A Tate placement • Digitisation step by step • The year in policy By Appointment to Her Majesty Queen Elizabeth II Suppliers of Conservation Storage, Equipment and Display Products Conservation By Design Limited Bedford DID YOU KNOW? Since 1992, museums, libraries and archives worldwide have turned to CXD for our comprehensive range of high quality conservation storage and display products. We invite you to take a look at www.cxdglobal.com to discover more about CXD. Did you know many of our products are manufactured in-house? Please contact us if you need further information or wish to order samples. Conservation By Design Limited, Timecare Works, 2 Wolseley Road, Bedford, MK42 7AD, United Kingdom T +44 (0) 1234 846300 E [email protected] www.cxdglobal.com cxdconservationbydesign 2 inside DECEMBER 2018 Issue 79 2 NEWS From the Editor From the Chair of the Board; ‘We are not NASA here - trying to get a man Group updates, conference back from the moon!' Thus spoke our news, policy update departing Chief Executive to me on one 11 occasion when I was panicking about a PEOPLE deadline. It is a mantra that I have clung on to 15 on several occasions since. Calming and 12 sensible, those words seem to me to encapsulate Alison A CHANGE OF PLAN Richmond’s wisdom and kindness to me and everyone A parchment charter is connected with Icon. Our Chair of the Board of Trustees has re-housed using magnets more to say about her achievements over nearly a decade.
    [Show full text]
  • SAA Guidelines for Preparing Legacy Archaeology Collections
    GUIDELINES FOR PREPARING LEGACY ARCHAEOLOGICAL COLLECTIONS FOR CURATION Michelle K. Knoll and Bruce B. Huckell ACKNOWLEDGMENTS We are grateful to a number of colleagues for their advice and assistance in compiling and reviewing previous drafts of this document. Our first thanks go to volunteers nearing retirement who completed a preliminary survey about what kinds of collections, samples, and materials they had in their possession that needed to be curated. They helped us assess what topics might best be covered in this guide. Once we started the process of compiling sections and full drafts, we had the good fortune to receive editorial comments, suggestions, and thoughtful reactions from our colleagues on the SAA Committee on Museums, Collections, and Curation. In particular, we are most grateful to committee chair Danielle Benden, Terry Childs, Jenna Domeischel, Susan Gilliland, and Marybeth Tomka. Bill Lipe, Professor Emeritus, Washington State University, long concerned with the proper curation of legacy collections, provided us with much food for thought on both an initial and a revised draft of this guide. We thank Richard Talbot, Brigham Young University, and Janaki Krishna, Natural History Museum of Utah, who also reviewed drafts, and Andrea Knoll for assistance with designing the cover. Our thanks as well to our colleagues at the University of Utah and the University of New Mexico for important conversations about aspects of curation that came up as we worked on the guide. Finally, we are grateful to the SAA Board of Directors for their invitation to prepare the guide and for their review and final approval of it.
    [Show full text]
  • Cultural Collections
    Policy and Minimum Requirements for Management of Cultural Collections Cultural Collections Committee April 2006 [updated October 2009] CONTENTS Policy for management of Cultural Collections 1 Introduction 2 Definition 3 Ownership 4 Responsibility 5 Establishment 6 Acquisition Minimum requirements for management of Cultural Collections Part A: General requirements Part B: Acquisition policy: minimum requirements Part C: Deaccession and disposal policy and procedure: minimum requirements Part D: List of Cultural Collections University of Melbourne Policy for management of Cultural Collections1 1 Introduction2 The University of Melbourne owns 32 identified cultural collections, of which 30 are managed by the University.3 It also owns a number of individual heritage objects which are not part of a collection. This policy and the minimum requirements are intended to apply to all faculties, schools, institutes, centres and departments of the University, and to all Cultural Collections owned and managed by the University now and in the future. 2 Definition Each of the Cultural Collections owned by the University of Melbourne is an assemblage of physical (not digital or virtual) objects,4 which have historic, aesthetic, scientific, research, technical, social or spiritual significance. This significance goes beyond the collection’s role as an intellectual resource or carrier of information or evidence. The objects in a Cultural Collection may be naturally occurring or created by humans and can include living organisms. Although each individual object might not be rare or unique, each collection as a totality is unique and irreplaceable; if lost or destroyed, the collection may not be able to be re-created, regardless of available funding.
    [Show full text]
  • ASG, Past, Present, and Future: Architectural Specialty Group at 25
    May 2013 Vol. 38, No. 3 Inside From the Executive Director 2 AIC News 4 ASG, Past, Present, and Future: Annual Meeting 5 Architectural Specialty Group FAIC News 5 at 25 JAIC News 7 by George Wheeler, Frances Gale, Frank Matero, and Joshua Freedland (editor) Allied Organizations 7 Introduction The Architectural Specialty Group (ASG) is celebrating its twenty-fifth Health & Safety 8 anniversary as a group within AIC. To mark this milestone, three leaders were asked to reflect about the architectural conservation field. The Sustainable Conservation Practice 10 selected group has been involved in educating architectural conserva- COLUMN tors and promoting the field of architectural conservation, and each has New Materials and Research 11 SPONSORED played a role in the development of ASG. Each was asked to indepen- BY A SG dently discuss architectural conservation and education today in the New Publications 12 context of past history and future possibilities. People 13 The need to teach future architectural conservators the philosophical framework for making conservation treatment and interpretation decisions remains clear, as it has Worth Noting 13 since the founding of the professional field in the 1960s. New architectural materials and styles, documentation techniques, and research methodologies threaten to fragment Grants & Fellowships 13 the architectural conservation field into specialists who function more as technicians than professionals. This struggle is neither new nor specific to architectural conservation; Specialty Group Columns
    [Show full text]