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ABSTRACT BOOK the Getty Conservation Institute Preserving the World’S Cultural Heritage to Advance Civil Society Visit Our Booth To

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ABSTRACT BOOK the Getty Conservation Institute Preserving the World’S Cultural Heritage to Advance Civil Society Visit Our Booth To AMERICAN INSTITUTE FOR CONSERVATION OF HISTORIC AND ARTISTIC WORKS 38TH ANNUAL MEETING / MAY 11-14, 2010 HYATT REGENCY / MILWAUKEE, WI ABSTRACT BOOK The Getty Conservation Institute Preserving the world’s cultural heritage to advance civil society Visit our booth to... • Learn about our model field projects, scientific research, educational initiatives, and information dissemination • Discover the many free resources on the GCI’s Web site www.getty.edu/conservation: books, reports, project bibliographies, videos, and more • Explore AATA Online, a database offering over 115,000 abstracts of conservation literature • Get a copy of Conservation Perspectives, The GCI Newsletter, a publication for professionals in conservation and related fields • Learn more about our graduate internship and guest scholar programs Keep up to date on our projects and other activities by signing up for the electronic GCI Bulletin: www.getty.edu/conservation/publications/bulletin The Getty Conservation Institute works internationally to advance conservation practice in the visual arts—broadly interpreted to include objects, collections, architecture, and sites. The Institute serves the conservation community through scientific research, educa- tion and training, model field projects, and the dissemination of the results of both its own work and the work of others in the field. In all its endeavors, the GCI focuses on the creation and delivery of knowledge that will benefit the professionals and organizations responsible for the conservation of the world’s cultural heritage. 1156 15th Street, NW Suite 320 Washington, DC 20005 ph: 202.452.9545 fx: (202) 452-9328 [email protected] • www.conservation-us.org ABSTRACTS 2010 The American Institute for Conservation of Historic & Artistic Works (AIC) is the national membership organization supporting conservation professionals in preserving cultural heritage by establishing and upholding professional standards, promoting research and publications, providing educational opportunities, and fostering the exchange of knowledge among conservators, allied professionals, and the public. The Foundation of the American Institute for Conservation (FAIC) supports the preservation of cultural materials through education and research initiatives for conservators and allied professionals. FAIC advocates public appreciation of conservation and the primary role it plays in increasing understanding of our global cultural heritage. The abstracts are published as received; AIC assumes no responsibility for their content. Only the titles, names, and affiliation information have been formatted for consistency. All rights reserved. No part of this publication may be reproduced or used in any form or by any means without the written permission of the American Institute for Conservation of Historic & Artistic Works. Copyright © 2010 Table of Contents General Session ................................................................................................................................... 3 Architecture ........................................................................................................................................ 7 Book and Paper ................................................................................................................................. 13 Electronic Media ................................................................................................................................ 22 Objects ............................................................................................................................................ 25 Paintings ......................................................................................................................................... 31 Research and Technical Studies ............................................................................................................... 42 Textiles ........................................................................................................................................... 46 Wooden Artifacts ................................................................................................................................ 50 Poster Abstracts .................................................................................................................................. 55 Board of Directors Specialty Group Officers President: Meg Loew Craft Architecture Vice President: Pamela Hatchfield Chair: Charles Phillips Secretary: Lisa Bruno Program Chair: Joshua Freedland Treasurer: Brian Howard Director, Committees & Task Forces: Catharine Hawks Book & Paper Director, Communications: Paul Messier Chair: Sue Murphy Director, Professional Education: Karen Pavelka Program Chair: Jodie Utter Director, Specialty Groups: Ralph Wiegandt Conservators in Private Practice Program Committee Chair: Joanna Pietruszewski Pamela Hatchfield Program Chair: Susan Lunas Rebecca Rushfield Electronic Media Mark Rabinowitz Chair: Christine Frohnert Patricia Silence Program Chair: Fletcher Durant Jennifer Wade Objects Poster Session Chair Chair: Helen Alten Angela M. Elliot Program Chair: Carolyn Riccardelli Rachel Penniman Paintings Local Arrangements Chair Chair: Joanna Dunn James DeYoung Program Chair: Bart Devolder Bill Rodencal Photographic Materials Tony Rajer Chair: Barbara Brown AIC Staff Program Chair: Monique Fischer Lisa Avent, Education Manager Research and Technical Studies Kenneth Beam, Finance Director Chair: Gregory Smith Philip Lynch, Membership & Marketing Associate Program Chair: Stephanie Porto Eric Pourchot, Institutional Advancement Director Textiles Kelsey Ray, Outreach and Development Assistant Chair: Patricia Ewer Brett Rodgers, Communications Director Program Chair: Denise Migdail Ruth Seyler, Membership & Meetings Director Haley Smit, Meetings & Operations Assistant Wooden Artifacts Eryl Wentworth, Executive Director Chair: John D. Childs Ryan Winfield, Membership Coordinator Program Chair: Susanne Grieve GENERAL SESSION IDENTITY CRISIS—CRITICAL IDENTITY: WITH PATIENCE AND FORTITUDE: THE FUTURE OF CONSERVATION AND KEEPING CONSERVATION RELEVANT IN A THE ROLE OF AIC IN ITS DEVELOPMENT CHANGING INSTITUTION George Wheeler, Director of Conservation, Columbia University Shelly Smith, Head of Conservation, The New York Public Library In recent years three texts have appeared that explore conservation theory: Contemporary Conservation Theory The New York Public Library (NYPL) is in the midst of (Salvador Muñoz-Viñas, 2005), Theory of Restoration (Cesare an ambitious restructuring aimed at merging the historically Brandi, English translation, 2005), and Securing the Past separate Research Libraries and Branch Libraries. This (Paul Eggert, 2009). An informal survey of the American system-wide organizational change, coined “One NYPL,” conservation community indicates that these texts have includes broad initiatives such as creating a unified online gone largely unread (many of Brandi’s most important catalog for all collections, extensively renovating existing and thoughts appear in The Historical and Philosophical Issues in new library buildings, and re-evaluating and reasserting the the Conservation of Cultural Heritage, published by the Getty Library’s mission. in 1996, which has been more widely read by conservators). This reorganization has affected conservation at the All three texts emphasize that conservation is a critical, Library in numerous ways. In the past, conservation treatment interpretative act, most clearly and explicitly stated by Brandi, was done in smaller satellite operations focused on a single “…restoration is carried out in order to re-establish the curatorial department or in response to exhibitions. Under critical text of a work [of art] and not simply a practical the aegis of the “One NYPL” reorganization, all conservation treatment in itself.” Fully accepting conservation as a critical activities have been centralized into one department. The act, Eggert challenges conservators to become more aware conservation department once served only the Research of developments in critical theories in other disciplines in Libraries, four research centers containing over 44 million a manner similar to Dykstra in his 1996 article, “Artist’s items (rare books, manuscripts, prints, photographs, maps, intentions and the intentional fallacy in fine art conservation.” paintings, objects, archives, and more). The department Eggert further emphasizes that to be unaware does not lead now also serves the “permanent collections,” of the Branch to being uninfluenced by these critical theories. However, Libraries, 85 neighborhood libraries serving The Bronx, the fundamental difference between conservation and other Manhattan, and Staten Island. In February 2010 the disciplines is that its critical, interpretative acts are carried conservation department will move to a new laboratory out on physical objects, and not just any physical objects, facility in a service-dedicated building that is located miles but unique works of art. Thus, it is not enough to think well away from the facilities where collection materials are stored. and critically in the conservation process, the conservator In addition, the Library created a new mission statement must also be able to act well—to have the skill to execute with a focus on public service, education, and outreach. This conservation treatments. The success of conservation new mission statement is disconcerting for conservation treatment resides
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