The conservation and restoration of cultural heritage focuses on protection and care of tangible cultural heritage, 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.
With respect to cultural heritage, 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. There are three broad categories of conservation science with respect to cultural heritage: 1) understanding the materials and techniques used by artists, 2) study of the causes of deterioration, and 3) improving methods/techniques and materials for examination and treatment. Conservation science includes aspects of chemistry, physics and biology, engineering, as well as art history and anthropology. Institutions such as the Getty Conservation Institute specialize in publishing and disseminating information relating to both tools used for and outcomes of conservation science research, as well as recent discoveries in the field.
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.
Object conservation is a term used to denote the conservation of works of art and three-dimensional artifacts. 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.
Collections care, which is sometimes called preventive conservation, involves any actions taken to prevent or delay the deterioration of cultural heritage. 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.
Conservation and restoration of objects made of glass is one aspect of conservation and restoration of cultural heritage. The nature and varying composition of the material, and the variety of types of object made from it, demand certain specialized techniques. The conservator needs to be aware of "agents of deterioration" presenting particular risk to glass objects, and how to prevent or counteract their effects. Relevant education and training is available in certain countries through museums, conservation institutes and universities.
Iron, steel, and ferrous metals constitute a large portion of collections in museums. The conservation and restoration of iron and steel objects is an activity dedicated to the preservation and protection of objects of historical and personal value made from iron or steel. When applied to cultural heritage this activity is generally undertaken by a conservator-restorer. Historically, objects made from iron or steel were created for religious, artistic, technical, military and domestic uses. Though it is generally not possible to completely halt deterioration of any object, the act of conservation and restoration strives to prevent and slow the deterioration of the object as well as protecting the object for future use. One of the first steps in caring for iron is to examine them and determine their state, determine if they are corroding, and consider options for treatment.
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.
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 Association of North American Graduate Programs in the Conservation of Cultural Property (ANAGPIC) is an organization comprising universities located in North America that offer graduate programs in the field of art conservation. Each association member's primary mission is to provide education and training in conservation through the awarding of an accredited degree. 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 outdoor artworks is the activity dedicated to the preservation and protection of artworks that are exhibited or permanently installed outside. These works may be made of wood, stone, ceramic material, plastic, bronze, copper, or any other number of materials and may or may not be painted. When applied to cultural heritage this activity is generally undertaken by a conservator-restorer.
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 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.
Emergency response , refers to the measures taken to prepare for and respond to crisis situations that endanger collections, people, and building structures. Common types of emergencies include natural disasters, pests, terrorism, war, and theft or vandalism. These conditions make up 5 of the 10 primary agents of deterioration that effect the longevity of museum collections.
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.
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.
The conservation and restoration of Tibetan thangkas is the physical preservation of the traditional religious Tibetan painting form known as a thangka. When applied to thangkas of significant cultural heritage, this activity is generally undertaken by a conservator-restorer.
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.
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 conservation and restoration of Ancient Greek pottery is a sub-section of the broader topic of conservation and restoration of ceramic objects. Ancient Greek pottery is one of the most commonly found types of artifacts from the ancient Greek world. The information learned from vase paintings forms the foundation of modern knowledge of ancient Greek art and culture. Most ancient Greek pottery is terracotta, a type of earthenware ceramic, dating from the 11th century BCE through the 1st century CE. The objects are usually excavated from archaeological sites in broken pieces, or shards, and then reassembled. Some have been discovered intact in tombs. Professional conservator-restorers, often in collaboration with curators and conservation scientists, undertake the conservation-restoration of ancient Greek pottery.
