The Freer Gallery of Art is an art museum of the Smithsonian Institution in Washington, D.C. focusing on Asian art. The Freer and the Arthur M. Sackler Gallery together form the Smithsonian's national museums of Asian art in the United States. The Freer and Sackler galleries house the largest Asian art research library in the country and contain art from East Asia, South Asia, Southeast Asia, the Islamic world, the ancient Near East, and ancient Egypt, as well as a significant collection of American art.
A museum is distinguished by a collection of often unique objects that forms the core of its activities for exhibitions, education, research, etc. This differentiates it from an archive or library, where the contents may be more paper-based, replaceable and less exhibition oriented, or a private collection of art formed by an individual, family or institution that may grant no public access. A museum normally has a collecting policy for new acquisitions, so only objects in certain categories and of a certain quality are accepted into the collection. The process by which an object is formally included in the collection is called accessioning and each object is given a unique accession number.
A conservator-restorer is a professional responsible for the preservation of artistic and cultural artifacts, also known as cultural heritage. Conservators possess the expertise to preserve cultural heritage in a way that retains the integrity of the object, building or site, including its historical significance, context and aesthetic or visual aspects. This kind of preservation is done by analyzing and assessing the condition of cultural property, understanding processes and evidence of deterioration, planning collections care or site management strategies that prevent damage, carrying out conservation treatments, and conducting research. A conservator's job is to ensure that the objects in a museum's collection are kept in the best possible condition, as well as to serve the museum's mission to bring art before the public.
Conservation and restoration of movable cultural property is a term used to denote the conservation of movable cultural property items in libraries, archives, museums and private collections. Conservation encompasses all the actions taken toward the long-term preservation of cultural heritage. Activities include examination, documentation, treatment, and preventive care, which is supported by research and education. Object conservation is specifically the actions taken to preserve and restore cultural objects. The objects span a wide range of materials from a variety of cultures, time periods, and functions. Object conservation can be applied to both art objects and artifacts. Conservation practice aims to prevent damage from occurring. This is called ‘preventive conservation’. The purpose of preventive conservation is to maintain, and where possible enhance, the condition of an object, as well as managing deterioration risks, such as handling and environmental conditions. Historically, object conservation was focused on the category of fine arts but now many different types of objects are conserved. Each type of object material, typically denoted by organic or inorganic then the specific medium, requires a specialized professional conservator and often requires collaborative work between museum staff, scientists, and conservators.
Collection maintenance is a area of collections management that consists of the day-to-day hands on care of collections and cultural heritage. The primary goal of collections maintenance or preventive conservation is to prevent further decay of cultural heritage by ensuring proper storage and upkeep including performing regular housekeeping of the spaces and objects and monitoring and controlling storage and gallery environments. Collections maintenance is part of the risk management field of collections management. The professionals most involved with collections maintenance include collection managers, registrars, and archivists, depending on the size and scope of the institution. Collections maintenance takes place in two primary areas of the museum: storage areas and display areas.
A collection manager ensures the proper care and preservation of objects within cultural institutions such as museums, libraries, and archives. Collection managers, along with registrars, curators, and conservators, play an important role in collections care. Collection Managers and Registrars are two distinct collection roles that are often combined into one within small to mid-size cultural institutions. Collection Managers can be found in large museums and those with a history and natural history focus whose diverse collections require experienced assessment to properly sort, catalog, and store artifacts. A collection manager may oversee the registrar, archivist, curator, photographer, or other collection professionals, and may assume the responsibilities of these roles in their absence within an organization.
A mount maker is responsible for the creation of structures called object mounts used to provide unobtrusive physical support, stability, and security of objects while on display, in storage, or being transported to museums, art galleries, libraries, archives, botanical gardens or other cultural institutions. Protection and long-term conservation of the object is a key goal of mount makers. This is accomplished through careful design, selection of materials and manufacturing process that will not inadvertently harm the object, and a cautious installation process of the object into its place in an exhibit. Professionals in this field can be employed directly by an institution, be independent contractors, or work as part of larger cultural institution exhibit design firms.
Collections management involves the development, storage, and preservation of cultural property, as well as objects of contemporary culture in museums, libraries, archives and private collections. The primary goal of collections management is to meet the needs of the individual collector or collecting institution's mission statement, while also ensuring the long-term safety and sustainability of the cultural objects within the collector's care. Collections management, which consists primarily of the administrative responsibilities associated with collection development, is closely related to collections care, which is the physical preservation of cultural heritage. The professions most influenced by collections management include collection managers, registrars, and archivists.
A Conservation Technician is a specialist who is trained in basic conservation methods pertaining to cultural property and may work in museums or public or private conservation organizations. Typically an individual may work with or be subordinate to a conservator. A technician may also work in conjunction with other collection staff, such as a registrar (museum) or collection manager.
The conservation and restoration of books, manuscripts, documents and ephemera is an activity dedicated to the preservation and protection of items of historical and personal value made primarily from paper, parchment, and leather. When applied to cultural heritage, conservation activities are generally undertaken by a conservator. The primary goal of conservation is to preserve the lifespan of the object as well as maintaining its integrity by keeping all additions reversible. Conservation of books and paper involves techniques of bookbinding, restoration, paper chemistry, and other material technologies including preservation and archival techniques.
A museum/library/archival registrar is responsible for implementing policies and procedures that relate to caring for collections of cultural institutions like archives, libraries, and museums. These policies are found in the museum's collections policy, the guiding tenet of the museum explaining why the institution is in operation, dictating the museum's professional standards regarding the objects left in its care. Registrars focus on sections that include acquisitions, loans, exhibitions, deaccessions, storage, packing and shipping, security of objects in transit, insurance policies, and risk management.
Risk management in museums, libraries, archives and private collections, otherwise called collections careɛ, involves any actions taken to prevent or delay the deterioration of cultural property. The primary goal is to identify and reduce potential hazards to heritage with thoughtful control of their surroundings. The professions most influenced by collections care include conservator-restorers, curators, collection managers, and registrars.
The documentation of cultural property is a critical aspect of collections care. As stewards of cultural property, museums collect and preserve not only objects but the research and documentation connected to those objects, in order to more effectively care for them. Documenting cultural heritage is a collaborative effort. Essentially, registrars, collection managers, conservators, and curators all contribute to the task of recording and preserving information regarding collections. There are two main types of documentation museums are responsible for: records generated in the registration process—accessions, loans, inventories, etc. and information regarding research on objects and their historical significance. Properly maintaining both types of documentation is vital to preserving cultural heritage.
The conservation and restoration of musical instruments is performed by conservator-restorers who are professionals, properly trained to preserve or protect historical and current musical instruments from past or future damage or deterioration. Because musical instruments can be made entirely of, or simply contain, a wide variety of materials such as plastics, woods, metals, silks, and skin, to name a few, a conservator should be well-trained in how to properly examine the many types of construction materials used in order to provide the highest level or preventive and restorative conservation.
A photograph conservator is a professional who examines, documents, researches, and treats photographs, including documenting the structure and condition of art works through written and photographic records, monitoring conditions of works in storage and exhibition and transit environments. This person also performs all aspects of the treatment of photographs and related artworks with adherence to the professional Code of Ethics.
A textile conservator is a conservator-restorer charged with the care, treatment, research, and preservation of textiles. Issues addressed by a textile conservator are generally related to the field of textile preservation, and include damage caused to textiles by: light, mold and mildew, insects, cleaning, surface cleaning, washing, mounting for display, and storage. Variations in textile types and “the diversity of the textile conservator’s work makes it a very rewarding profession”. Textiles are among the most fragile artifacts, as they are susceptible to damage from atmospheric pollutants, moisture, biological organisms, and environmental changes and care varies with size, shape, material, and condition issues, all of which a textile conservator must be well versed.
The cultural property storage typically falls to the responsibility of cultural heritage institutions, or individuals. The proper storage of these objects can help to ensure a longer lifespan for the object with minimal damage or degradation. With so many different types of artifacts, materials, and combinations of materials, keepers of these artifacts often have considerable knowledge of the best practices in storing these objects to preserve their original state.
Conservation and restoration at the Smithsonian Institution deals with the care of the 138 million artifacts located in the collections of Smithsonian Institution. Work is conducted by one research center, the Museum Conservation Institute (MCI), and by conservators at the Smithsonian's museums, galleries, zoo. Smithsonian conservators provide myriad services to their units, including exhibit preparation of the museum collection and loan objects, advising on object care, training for future generations of conservationists, engaging in routine preventive care on a daily basis, conducting research projects related to the collections, and examining objects for evidence of manufacturing techniques and previous restorations All conservation labs collectively further the mission of the Smithsonian Institution, "the increase and diffusion of knowledge." Founded in 1846 the Smithsonian is the world's largest museum and research complex, consisting of 19 museums and galleries, the National Zoological Park, and nine research facilities.
The exhibition of cultural property is a practice used by organizations where collected objects are put on display to the public. The objects are carefully chosen and placed together to offer educational value, and often to tell a story.
The conservation-restoration of panel paintings involves preventive and treatment measures taken by paintings conservators to slow deterioration, preserve, and repair damage. Panel paintings consist of a wood support, a ground, and an image layer. They are typically constructed of two or more panels joined together by crossbeam braces which can separate due to age and material instability caused by fluctuations in relative humidity and temperature. These factors compromise structural integrity and can lead to warping and paint flaking. Because wood is particularly susceptible to pest damage, an IPM plan and regulation of the conditions in storage and display are essential. Past treatments that have fallen out of favor because they can cause permanent damage include transfer of the painting onto a new support, planing, and heavy cradling. Today's conservators often have to remediate damage from previous restoration efforts. Modern conservation-restoration techniques favor minimal intervention that accommodates wood's natural tendency to react to environmental changes. Treatments may include applying flexible battens to minimize deformation or simply leaving distortions alone, instead focusing on preventive care to preserve the artwork in its original state.
