A Methodology for Documenting Preservation Issues Affecting
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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 -
CONSERVATORS/RESTORERS Updated: 8/2015
CONSERVATORS/RESTORERS Updated: 8/2015 **THE HOOD MUSEUM OF ART DOES NOT RECOMMEND SPECIFIC CONSERVATORS. THIS LISTING IS MADE FOR PURPOSES OF INFORMATION ONLY.** Online directory of members of AIC (American Institute for Conservation of Historic and Artistic works): www.conservation-us.org/membership/find-a-conservator GENERAL – Also see individual media below Straus Center for conservation and Technical Studies Harvard University Art Museums 32 Quincy Street Cambridge, MA 02138 Paper, Objects, Textiles P: 617/495.2392 F: 617/495.0322 Website: www.harvardartmuseums.org Isabella Stewart Gardner Museum 25 Evans Way Boston, MA 02115 P: 617/566.1401 Paper, Objects, Textiles F: 617/278.5167 Email: [email protected] Website: www.gardnermuseum.org Vermont Museum and Gallery Alliance C/O Fairbanks Museum Referrals. Good source for general 1302 Main Street information on storage, packing, and St. Johnsbury, VT 05819 care of artwork. P: 802/751.8381 Williamstown Art Conservation Center, Inc. 227 South Street Williamstown, MA 02167 Paintings, paper, objects, furniture, P: 413/458.5741 sculpture, frames, analytical F: 413/458.2314 Email: [email protected] Website: www.williamstownart.org Worcester Art Museum 55 Salisbury Street Worcester, MA 01609 Paper, Paintings P: 508/799.4406 Email: [email protected] Website: www.worcesterart.org CONSERVATORS/RESTORERS Updated: 8/2015 General Continued Art Conservation Resource Center 262 Beacon Street, #4 Paintings, paper, photographs, textiles, Boston, MA 02116 objects and sculpture P: -
Bioarchaeology (Anthropological Archaeology) - Mario ŠLAUS
PHYSICAL (BIOLOGICAL) ANTHROPOLOGY - Bioarchaeology (Anthropological Archaeology) - Mario ŠLAUS BIOARCHAEOLOGY (ANTHROPOLOGICAL ARCHAEOLOGY) Mario ŠLAUS Department of Archaeology, Croatian Academy of Sciences and Arts, Zagreb, Croatia. Keywords: Bioarchaeology, archaeological, forensic, antemortem, post-mortem, perimortem, traumas, Cribra orbitalia, Harris lines, Tuberculosis, Leprosy, Treponematosis, Trauma analysis, Accidental trauma, Intentional trauma, Osteological, Degenerative disease, Habitual activities, Osteoarthritis, Schmorl’s nodes, Tooth wear Contents 1. Introduction 1.1. Definition of Bioarchaeology 1.2. History of Bioarchaeology 2. Analysis of Skeletal Remains 2.1. Excavation and Recovery 2.2. Human / Non-Human Remains 2.3. Archaeological / Forensic Remains 2.4. Differentiating between Antemortem/Postmortem/Perimortem Traumas 2.5. Determination of Sex 2.6. Determination of Age at Death 2.6.1. Age Determination in Subadults 2.6.2. Age Determination in Adults. 3. Skeletal and dental markers of stress 3.1. Linear Enamel Hypoplasia 3.2. Cribra Orbitalia 3.3. Harris Lines 4. Analyses of dental remains 4.1. Caries 4.2. Alveolar Bone Disease and Antemortem Tooth Loss 5. Infectious disease 5.1. Non–specific Infectious Diseases 5.2. Specific Infectious Disease 5.2.1. Tuberculosis 5.2.2. Leprosy 5.2.3. TreponematosisUNESCO – EOLSS 6. Trauma analysis 6.1. Accidental SAMPLETrauma CHAPTERS 6.2. Intentional Trauma 7. Osteological and dental evidence of degenerative disease and habitual activities 7.1. Osteoarthritis 7.2. Schmorl’s Nodes 7.3. Tooth Wear Caused by Habitual Activities 8. Conclusion Glossary Bibliography Biographical Sketch ©Encyclopedia of Life Support Systems (EOLSS) PHYSICAL (BIOLOGICAL) ANTHROPOLOGY - Bioarchaeology (Anthropological Archaeology) - Mario ŠLAUS 1. Introduction 1.1. Definition of Bioarchaeology Bioarchaeology is the study of human biological remains within their cultural (archaeological) context. -
Conservation of Cultural and Scientific Objects
CHAPTER NINE 335 CONSERVATION OF CULTURAL AND SCIENTIFIC OBJECTS In creating the National Park Service in 1916, Congress directed it "to conserve the scenery and the natural and historic objects and the wild life" in the parks.1 The Service therefore had to address immediately the preservation of objects placed under its care. This chapter traces how it responded to this charge during its first 66 years. Those years encompassed two developmental phases of conservation practice, one largely empirical and the other increasingly scientific. Because these tended to parallel in constraints and opportunities what other agencies found possible in object preservation, a preliminary review of the conservation field may clarify Service accomplishments. Material objects have inescapably finite existence. All of them deteriorate by the action of pervasive external and internal agents of destruction. Those we wish to keep intact for future generations therefore require special care. They must receive timely and. proper protective, preventive, and often restorative attention. Such chosen objects tend to become museum specimens to ensure them enhanced protection. Curators, who have traditionally studied and cared for museum collections, have provided the front line for their defense. In 1916 they had three principal sources of information and assistance on ways to preserve objects. From observation, instruction manuals, and formularies, they could borrow the practices that artists and craftsmen had developed through generations of trial and error. They might adopt industrial solutions, which often rested on applied research that sought only a reasonable durability. And they could turn to private restorers who specialized in remedying common ills of damaged antiques or works of art. -
Digital Archaeological Data Collection 1
Running Head: DIGITAL ARCHAEOLOGICAL DATA COLLECTION 1 Digital Archaeological Data Collection and Archaeological Data Repositories: How Digital Environments are leading to a Convergence of Data Collection Standards Julia Silver [email protected] (410) 660-5009 Johns Hopkins University Museum Studies Digital Curation Certificate Program December 5, 2015 DIGITAL ARCHAEOLOGICAL DATA COLLECTION 2 Abstract This paper discusses how the lack of standardized methods for on-site data collection has impacted the ability of archaeologists to preserve archaeological data and make it accessible for reuse. Repositories and databases, like the Alexandria Archive Institute’s (AAI) Open Context and Digital Antiquity’s tDAR (the Digital Archaeological Record), have gained traction as prominent platforms to both publish archaeological data and to store and make accessible raw data. However, gaps remain between data collection and data accessibility, which seem unlikely to be closed by the adoption of standards for the documentation and description of field data. The following questions are considered: What are the challenges to standardization in the collection and documentation of field data? In the absence of agreed-upon standards, what alternative methods can aid in the preservation and accessibility goals of archaeologists? One promising development, a mobile platform created by the Federated Archaeological Information Management Systems (FAIMS) Project, is considered as an alternative path that may lead to a convergence of data collection standards in the future. DIGITAL ARCHAEOLOGICAL DATA COLLECTION 3 Table of Contents I. Introduction II. Research Methodologies III. Historical Background a. Defining Digital Archaeology b. DigMaster c. The Beginning of Online Data Publication d. The Archaeological Information Ecosystem IV. -
Acquisition and Disposal of Collections
139 ACQUISITION AND DISPOSAL OF COLLECTIONS The goal of collections development is to shape collections whose composition supports a collecting unit’s mission and programs. The main tools of collections development are acquisitions and disposals. This chapter discusses these tools. acquisition and disposal 140 ollections are acquired through various methods, such as donation, field collection, transfer from another organization, and purchase. “Disposal” means termination of ownership and physical removal of accession C 1 collection items. In the United States, “deaccessioning” and “disposal” are often used interchangeably, but technically the former term refers only to the first step in disposal — the removal of an item from the catalogue of accession collections.2 The first section of this chapter addresses acquisitions, with particular emphasis on how collecting units have built their collections, the policy framework related to acquisitions, and how collecting units are responding to a changed collecting environment. It also examines how collecting units make acquisition decisions, and considers alternatives to traditional collection methods. The second section addresses deaccessioning and disposal. It discusses the reasons units dispose of items, and the obstacles to disposal. The role of organizational and professional culture in collections development is discussed. Also discussed briefly is the issue of duplication and overlap of collections at the Smithsonian. The chapter closes with conclusions. FINDINGS acquisitions Collecting appears to be an innate human propensity. Archaeological excavations indicate, for example, that 80,000 years ago Neanderthals assembled collections of small stones (Neal 1980, 24). Norman Rosenthal, exhibitions secretary at the Royal 1 Collecting units also dispose of non-accessioned items, but that is not the focus here. -
Integrating Archaeology and Conservation of Archaeology and Conservation the Past, Forintegrating the Future
SC 13357-2 11/30/05 2:39 PM Page 1 PROCEEDINGS PROCEEDINGS The Getty Conservation Institute The Conservation Los Angeles Theme of the 5th World Archaeological Congress Of the Past, for the Future: Washington, D.C. Printed in Canada June 2003 Integrating Archaeology and Conservation Of the Past, for the Future: Integrating Archaeology and Conservation The Getty Conservation Institute i-xii 1-4 13357 10/26/05 10:56 PM Page i Of the Past, for the Future: Integrating Archaeology and Conservation i-xii 1-4 13357 10/26/05 10:56 PM Page ii i-xii 1-4 13357 10/26/05 10:56 PM Page iii Of the Past, for the Future: Integrating Archaeology and Conservation Proceedings of the Conservation Theme at the 5th World Archaeological Congress, Washington, D.C., 22–26 June 2003 Edited by Neville Agnew and Janet Bridgland The Getty Conservation Institute Los Angeles i-xii 1-4 13357 10/26/05 10:56 PM Page iv The Getty Conservation Institute Timothy P. Whalen, Director Jeanne Marie Teutonico, Associate Director, Field Projects and Science The Getty Conservation Institute works internationally to advance conserva- tion and to enhance and encourage the preservation and understanding of the visual arts in all of their dimensions—objects, collections, architecture, and sites. The Institute serves the conservation community through scientific research; education and training; field projects; and the dissemination of the results of both its work and the work of others in the field. In all its endeavors, the Institute is committed to addressing unanswered questions and promoting the highest possible standards of conservation practice. -
LARA KAPLAN 5105 Kennett Pike OBJECTS CONSERVATOR Winterthur, DE 19735 [email protected]
Winterthur Museum LARA KAPLAN 5105 Kennett Pike Winterthur, DE 19735 OBJECTS CONSERVATOR [email protected] EDUCATION Winterthur/University of Delaware Program in Art Conservation, Winterthur, DE M.S./Certificate in Art Conservation, objects major – August 2003 Rice University, Houston, TX B.A. Art/Art History and Linguistics, cum laude – May 1997 CONSERVATION EXPERIENCE 7/19-Present: Objects Conservator; Affiliated Assistant Professor Winterthur Museum, Library and Gardens; Winterthur/University of Delaware Program in Art Conservation (WUDPAC) – Winterthur, DE At Winterthur, preserving three-dimensional objects in the museum collection, conducting technical examinations and treatment, and consulting on proper handling, storage, transport, and exhibition requirements. For WUDPAC, leading the Organic Block portion of the 1st-year curriculum, covering plant materials, skin/leather, keratins, ivory, bone, and related materials, and plastics; supervising 2nd- and 3rd-year objects majors; serving on student advisory committees; teaching advanced seminars on specialized topics, including characterization and treatment of skin/leather artifacts, conservation of basketry, feathers, and plastics, ethical issues in the conservation of modern/contemporary collections and objects from indigenous cultures, and opening a conservation private practice. 1/05-Present: Freelance Conservator Baltimore, MD (1/05-12/18); Philadelphia, PA (1/19-Present) Working as an independent conservator for institutions, galleries, and private individuals. Services include examination, treatment, surveys, art historical research, and sampling/testing of art and artifacts made of a wide range of materials (glass, ceramics, stone, plaster, metals, lacquer, wood and other plant materials, skin and leather, horn, tortoiseshell, feather, ivory, bone, shell, rubber, and plastics), as well as consultation and preparing objects for storage, transportation, and exhibition. -
MCI Interns and Volunteers
MCI Weekly Highlight 13 August 2010 Understanding the American Experience, Valuing World Cultures , Unlocking the Mysteries of the Universe, Understanding and Sustaining a Biodiverse Planet The Museum Conservation Institute hosted 10 interns and volunteers this summer. These individuals significantly increase research and conservation treatment productivity at MCI. We would like to take the opportunity to acknowledge their contributions and wish them the best in their future endeavors. • In the Paintings Conservation Laboratory under the mentorship of Senior Paintings Conservator, Jia-sun Tsang, Laura King worked on Sam Gilliam’s Muse I from 1965 which is a stained acrylic painting, and James Aiken’s Swedish Cottage and Shakespeare Garden from 1959 which is an oil painting—both paintings from the Anacostia Community Museum. Allison Martin continued to work with Jia-sun Tsang on several paintings conservation-related projects. Rebecca Gieseking worked with Jia-sun on a manuscript based on a plastics conservation project that they began two years ago. • E. Keats Webb worked with Senior Conservator, Mel Wachowiak, on an in-depth exploration of 3D scanning, Quick Time Virtual Reality, High Definition digital video, and Reflectance Transformation Imaging. A publication is pending that will compare the strengths and weaknesses of the techniques in cultural heritage applications. • In the Textile Conservation Studio, Mary Ballard, Senior Textiles Conservator, oversaw the work of several intern projects focusing on the Black Fashion Museum collection acquired by the National Museum of African American History and Culture. Cathleen Zaret finished re-housing the McGee collection of garments,and will turn to repairs on a lovely honeymoon peignoir as she finishes her internship August 30. -
Insights and Hindsights from Deaccessioning
Insights and Hindsights from Deaccessioning Leslie B. Jones | Vice President, Museum Affairs & Curator of Decorative Arts Cheekwood Estate & Garden | Nashville, TN May 17, 2017 Museums preserve and protect more than 1 billion objects Heritage Health Index (2004) borrowed from American Alliance of Museums Visualization of powers of ten from one to 1 billion © CC BY-SA 3.0 UNESCO “Storage-Planning space and fittings” Source: MAP/Reviewer: Zoe Scott/Edits LLW Dec 2006, reviewed JH April 2010 * ORGANIZED THOUGHTS * DEACCESSIONING 101: Survey the Situation DEACCESSIONING 201: Proactivity is Power DEACCESSIONING 301: Research, Research, Research DEACCESSIONING 401: Action and Dispersal * NOT-SO-ORGANIZED THOUGHTS * INSIGHT(S) Recollections and examples of previous work that may prove to be helpful and/or instructive HINDSIGHT(S) Recollections and examples of previous work that demonstrate what is not helpful and/or instructive CHEEKWOOD ESTATE & GARDEN • Constructed between 1929 and 1932 • Private family home from 1932 until 1957 • Donated in 1957 to become the Tennessee Botanical Gardens and Fine Arts Center • Opened to the public in 1960 with Museum space in the historic home • Collection Categories include PERMANENT and ARCHIVAL • Collection overview resulted in an encyclopedic approach with holdings of works on paper, artist books, video art, sculpture, paintings, photography, ceramics, art glass, metal ware, furniture, textiles, ethnographic objects, etc. All IMAGES OWNED BY CHEEKWOOD AND MAY NOT BE REPRODUCED WITHOUT WRITTEN AUTHORIZATION -
Curation Standards and Procedures, As Amended
COUNCIL OF TEXAS ARCHEOLOGISTS GUIDELINES AND STANDARDS FOR CURATION Prepared by the Curation Committee Revised Spring 2020 COUNCIL OF TEXAS ARCHEOLOGISTS - GUIDELINES AND STANDARDS FOR CURATION CONTENTS 1 INTRODUCTION ................................................................................................................................ 1 2 GUIDELINES FOR SUBMITTING COLLECTIONS FOR CURATION .................................... 2 2.1 Pre-Curation Field Strategies ........................................................................................................ 2 2.1.1 Excavation and Field Conservation .................................................................................... 3 2.2 Arranging for Curation with an Archeological Repository .......................................................... 5 2.2.1 Letter of Request for Housing ............................................................................................. 5 2.2.2 Letter of Transfer/Ownership ............................................................................................. 6 2.2.3 Letter of Acceptance ........................................................................................................... 6 2.3 Standards for Preparing Archeological Records ........................................................................... 7 2.3.1 Guidelines for Environmental Conditions by Material Type (adapted from NPS Museum Handbook, Part I [NPS 2019b]) ........................................................................... 8 2.3.2 -
Conducting (And Maintaining!) a Collection Inventory 4 October 2016
And Everything in its Place: Conducting (and Maintaining!) a Collection Inventory 4 October 2016 Poll #1 What job title is closest to yours: Registrar or Collection Manager Curator Archivist Director Most or all of the above: I do it all! Museum studies student None of the above Just an Ordinary Day in the Life of a Registrar Sisyphus undertakes an inventory of his collection Poll #2 What percentage of objects in your collection have a (pretty reliable) location record (“I know where it is” does not count)? 75% to 100% (why are you taking this webinar?) 25% to 75% (hey, it’s a start) less than 25% (don’t feel bad, you have a lot of company Why inventory? or: Do I have to????? Registrars, through the records maintained, are accountable for the objects in custody of their museums and must be able to provide current information on each object, its location, status, and condition. From Code of Ethics for Registrars. The Registrars Committee of the American Association of Museums. Accepted and endorsed 11 June 1984. A Museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment. ICOM (International Council of Museums) Statutes, adopted by the 22nd General Assembly in Vienna Austria on 24 August 2007 Oxymoron? Access AND Preservation? No Problem! Fiduciary Fi-du-ci-ar-y (fi-doo’shē-er’ē) adj. 1.a.