2009 Abstract Book
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ABSTRACTS 2009 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 conservation 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 © 2009 1156 15th Street, NW Suite 320 Washington, DC 20005 ph: 202.452.9545 fx: (202) 452-9328 • [email protected] • www.aic-faic.org Table of Contents General Session .................................................................................................................................. 3 Architecture ....................................................................................................................................... 8 Book and Paper ................................................................................................................................. 12 Electronic Media ............................................................................................................................... 18 Objects ............................................................................................................................................ 23 Joint Session: Paintings and Research and Technical Studies ............................................................................ 29 Paintings ........................................................................................................................................ 32 Research and Technical Studies ............................................................................................................... 36 Textiles .......................................................................................................................................... 41 Wooden Artifacts ................................................................................................................................ 47 Poster Abstracts .................................................................................................................................. 52 Board of Directors Specialty Group Officers President: Martin Burke Architecture Vice President: Meg Loew Craft Chair: Kevin Daly Secretary: Lisa Bruno Program Chair: Charles Phillips Treasurer: Brian Howard Director, Communications: Paul Messier Book & Paper Director, Committees & Task Forces: Catharine Chair: Sue Murphy Hawks Program Chair: Yasmeen Khan Director, Specialty Groups: Ralph Wiegandt Conservators in Private Practice Director, Professional Education: Karen Pavelka Chair: Victoria Montana Ryan Program Committee Program Chair: Joanna Pietruszewski Meg Loew Craft Electronic Media Jennifer Wade Chair: Christine Frohnert Rebecca Rushfield Program Chair: Gwynne Ryan Margaret A. Little Paul Himmelstein Objects Gordon Lewis Chair: Howard Wellman Program Chair: Helen Alten Poster Session Chair Valinda Carroll Paintings Rachel Penniman Chair: Joanna Dunn Angela M. Elliot Program Chair: Sue Ann Chui Local Arrangements Chair Photographic Materials Jerry Podany Chair: Adrienne Lundgren Holly Moore Program Chair: Lyzanne Gann Jo Hill Ellen Pearlstein Research and Technical Studies Janice Schopfer Chair: Jennifer Wade Laura Stalker Program Chair: Gregory Smith AIC Staff Textiles Lisa Avent, Education Manager Chair: Anne Murray Kenneth Beam, Finance Director Program Chair: Patricia Ewer Amanda Knowles, Meetings Coordinator Wooden Artifacts Philip Lynch, Membership & Marketing Assistant Chair: Peter Muldoon Eric Pourchot, Director of Institutional Advancement Program Chair: John D. Childs Kelsey Ray, Outreach and Development Assistant Brett Rodgers, Publications Manager Ruth Seyler, Membership & Meetings Director Eryl Wentworth, Executive Director Ryan Winfield, Membership Coordinator GENERAL SESSION CONservatION 1.0: curators, art historians, archivists, archaeologists, architects, BEFORE THE 21ST CENTURY or artists, and understands a vocabulary of technology and connoisseurship which may range from the contents of Joyce Hill Stoner, Professor, Winterthur/UD Program in Art a shipwreck to Indian miniature paintings. By the end of Conservation and Director, Preservation Studies Doctoral Program the twentieth century, conservators were also expected to The landscape of the profession of conservation changed understand integrated pest management, HVAC systems, dramatically especially in the last quarter of the 20th century. light levels, and permissible exposure limits and be able to The patterns of progress in the U.S. were a reflection of speak articulately to foundation heads or reporters from Sixty what was happening internationally. The Staatliche Museen Minutes. George Stout’s “three-legged stool” has become in Berlin established a laboratory in 1888, and the British at least a twelve-legged settee. (NOTE: in the talk, special Museum followed suit in 1921. The Fogg Technical attention will be paid to our U.S. pioneer conservators whom Laboratory in Cambridge, Massachusetts was operating by we have recently lost.) 1928 and published the first technical journal, from 1932 to 1942. The first international conference on conservation was held in Rome in 1930. The International Institute for THE CONservatION OF Conservation of Historic and Artistic Works was founded JuaNQINZHAI, THE STUDIO OF in London in 1950, and the “American Group” of the IIC EXHAUSTION from DILIGENT ServICE, met for the first time in 1960. The IIC-AG adopted the first AS A PrototYPE FOR ARCHITECTURAL standards of practice and code of ethics for conservation in CONservatION ProJECTS IN THE 1963 and 1967. Training programs began in London in 1934, Vienna in 1936, Munich in 1938, Rome in 1943, and New FORBIDDEN CITY, BEIJING York in 1960. T.K. McClintock, Director of Studio TKM Conservation of Fine In the 1960s, conservation graduate students had few Art and Historic works on Paper and Chief Technical Advisor to conservation-related books to purchase, few professional the World Monuments Fund on the Conservation of Juanqinzhai; groups to join or conferences to attend, and limited John Stubbs, Vice President of Field Projects, World Monuments knowledge of solvent toxicities or approaches to preventive Fund, New York, and Adjunct Associate Professor, Graduate conservation. Scientific investigation was focused most Program in Historic Preservation, Columbia University, New successfully on inorganic materials: metals, pigments, glass, York; Liu Chang, Country Representative for China, World and ceramics. Beginning in the 1970s, conservation literature, Monuments Fund, and Associate Professor, School of architecture, conferences and professional organizations, training programs, Tsinghua University, Beijing; Wang Shiwei, Deputy Director of specialties, philosophical approaches and techniques, regional the Historic Architecture Department, Palace Museum, Beijing; and museum conservation departments, and related scientific Cao Jinglou, former Deputy Director of the Conservation Science instrumentation and research multiplied exponentially. and Technology Department, Palace Museum, Beijing A “minimalist” movement increased attention to preventive conservation, and more conservators became The Qianlong Garden Complex (Ningshougong), was high-level collaborators rather than the basement “fix-it” constructed in the northeast corner of the Forbidden City guys or nay-sayers. In 1974, leading practitioners of paintings over five years (1771-75) under the direct supervision of conservation, the historically high-profile specialty, declared a the Qianlong Emperor (born 1711, reigned 1736-95), who moratorium on the traditional techniques of lining. A menu was renowned for his patronage of the fine and decorative of alternative adhesives and techniques rapidly followed along arts. Twenty-seven structures surround four courtyards, of with a list of new approaches to the removal of unwanted which Juanqinzhai, the Studio of Exhaustion from Diligent coatings. Paper conservators re-examined bleaching and Service, is located in the most northern and private courtyard. flattening. Procedures once carried out with bravado—the It is a nine bay post and beam tier structure (Tailiang) with transferring of panel paintings, the removal of frescoes masonry infill walls, four bays of which comprise a two from their original walls, or the removal of original wood story theater and the other five bays of which comprise a from furniture during restoration—were soon considered group of private rooms on two floors that surround an entry unacceptable. Rules have flexed. Native Americans are court. The interior is distinguished in these two locations encouraged to dance in their traditional costumes housed