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The conservation and restoration of cultural property focuses on protection and care of cultural property, including artworks, architecture, archaeology, and museum collections. Conservation activities include preventive conservation, examination, documentation, research, treatment, and education. This field is closely allied with conservation science, curators and registrars.
Conservation and restoration of immovable cultural property describes the process through which the material, historical, and design integrity of any immovable cultural property are prolonged through carefully planned interventions. The individual engaged in this pursuit is known as an architectural conservator-restorer. Decisions of when and how to engage in an intervention are critical to the ultimate conservation-restoration of cultural heritage. Ultimately, the decision is value based: a combination of artistic, contextual, and informational values is normally considered. In some cases, a decision to not intervene may be the most appropriate choice.
Cultural heritage is the heritage of tangible and intangible heritage assets of a group or society that is inherited from past generations. Not all heritages of past generations are "heritage"; rather, heritage is a product of selection by society.
The New York State Museum is a research-backed institution in Albany, New York, United States. It is located on Madison Avenue, attached to the south side of the Empire State Plaza, facing onto the plaza and towards the New York State Capitol. The museum houses art, artifacts, and ecofacts that reflect New York’s cultural, natural, and geological development. Operated by the New York State Education Department's Office of Cultural Education, it is the oldest and largest state museum in the US. Formerly located in the State Education Building, the museum now occupies the first four floors of the Cultural Education Center, a ten-story, 1,500,000-square-foot (140,000 m2) building that also houses the New York State Archives and New York State Library.
In conservation, library and archival science, preservation is a set of preventive conservation activities aimed at prolonging the life of a record, book, or object while making as few changes as possible. Preservation activities vary widely and may include monitoring the condition of items, maintaining the temperature and humidity in collection storage areas, writing a plan in case of emergencies, digitizing items, writing relevant metadata, and increasing accessibility. Preservation, in this definition, is practiced in a library or an archive by a conservator, librarian, archivist, or other professional when they perceive a collection or record is in need of maintenance.
With respect to cultural property, conservation science is the interdisciplinary study of the conservation of art, architecture, technical art history and other cultural works through the use of scientific inquiry. General areas of research include the technology and structure of artistic and historic works. In other words, the materials and techniques from which cultural, artistic and historic objects are made.
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.
The Underwater Archaeology Branch (UAB) of the Naval History & Heritage Command (NHHC) is a unit of the United States Department of the Navy. It was formally founded in 1996 as a consequence of the emerging need to manage, study, conserve, and curate the U.S. Navy's submerged cultural resources.
Conservation and restoration of metals is the activity devoted to the protection and preservation of historical and archaeological objects made partly or entirely of metal. In it are included all activities aimed at preventing or slowing deterioration of items, as well as improving accessibility and readability of the objects of cultural heritage. Despite the fact that metals are generally considered as relatively permanent and stable materials, in contact with the environment they deteriorate gradually, some faster and some much slower. This applies especially to archaeological finds.
The Rathgen Research Laboratory is a Research Institute of the Berlin State Museums under the auspices of the Prussian Cultural Heritage Foundation. It carries out cross-material conservation science, art technology and archaeometry studies of fine arts and cultural artifacts to determine composition, age and authenticity and provide advice on their restoration. It further conducts academic research on scientific issues concerning the care and preservation of monuments and archaeological sites. Founded in 1888 as the Chemical Laboratory of the Royal Museums in Berlin, it is the oldest museum laboratory in world and bears the name of its first director, Dr. Friedrich Rathgen.
Since 1974, the conservation graduate programs have held an annual meeting at one of the member programs in order to give current students the opportunity to present current research to their peers.
The conservation and restoration of books, manuscripts, documents, and ephemera is an activity dedicated to extending the life 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 extend 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 conservation scientist is a museum professional who works in the field of conservation science and whose focus is on the research of cultural heritage through scientific inquiry. Conservation scientists conduct applied scientific research and techniques to determine the material, chemical, and technical aspects of cultural heritage. The technical information conservation scientists gather is then used by conservator and curators to decide the most suitable conservation treatments for the examined object and/or adds to our knowledge about the object by providing answers about the material composition, fabrication, authenticity, and previous restoration treatments.
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 conservation and restoration of archaeological sites is the collaborative effort between archaeologists, conservators, and visitors to preserve an archaeological site, and if deemed appropriate, to restore it to its previous state. Considerations about aesthetic, historic, scientific, religious, symbolic, educational, economic, and ecological values all need to be assessed prior to deciding the methods of conservation or needs for restoration. The process of archaeology is essentially destructive, as excavation permanently changes the nature and context of the site and the associated information. Therefore, archaeologists and conservators have an ethical responsibility to care for and conserve the sites they put at risk.
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.
Helen Diana Burgess, was a Canadian conservation scientist. Burgess spent her career at the Canadian Conservation Institute ("CCI"), where she was a Senior Conservation Scientist. She was a researcher in paper and textiles conservation processes and an expert in the areas of cellulose degradation analysis, conservation bleaching, washing, enzyme applications on paper, as well as aqueous and mass deacidification of paper.
Museum environment issues include temperature, humidity, light, atmospheric pollutants, and dust, which are typically controlled in buildings that contain collections of cultural and scientific significance. These environmental factors are all 'agents of deterioration' that cause damage to objects, as they play a role in deterioration pathways such as oxidation, hydrolysis, cross-linking and chain scission.
References
- 1 2 3 "Canadian Conservation Institute". Natural Sciences and Engineering Research Council of Canada. Natural Sciences and Engineering Research Council of Canada. Retrieved 3 March 2017.
- ↑ A-AD-266-000/AG-001 Canadian Forces Museums –Operations and Administration 2002-04-03
- ↑ Institute, Canadian Conservation (2020-12-24). "Organizational structure – Canadian Conservation Institute". aem. Retrieved 2021-05-20.
- 1 2 3 4 McElhone, John (12 December 2014). "Nathan Stolow (1928–2014): An Art Conservation Pioneer". National Gallery of Canada Magazine. National Gallery of Canada . Retrieved 11 March 2017.
- 1 2 3 4 5 6 7 Turko, Karen (February 1996). Preservation Activities in Canada: A Unifying Theme in a Decentralised Country (PDF). The Commission on Preservation and Access. ISBN 1-887334-47-5. Archived from the original (PDF) on 2015-10-17. Retrieved 2017-03-12.
- ↑ http://ottawa.ca/doorsopen Doors Open Ottawa
- ↑ Wright, Julia (18 November 2016). "Historic quilt stitches together Confederation story" . Retrieved 11 March 2017.
- ↑ Tse, Season; Bégin, P. (July 2014). "Highlights of Paper Research at the Canadian Conservation Institute". Studies in Conservation. 47 (s3): 193–198. doi:10.1179/sic.2002.47.s3.040. S2CID 191492424.
