Wednesday, 22 April 2015

Workshop following the British Museum's 'Symposium on the care and conservation of human remains with a focus on natural mummies'

The British Museum's 'Symposium on the care and conservation of human remains with a focus on natural mummies' (organized by Barbara Wills and Daniel Antoine) took place on 20 April.

It was excellent to discuss the subject from such diverse angles. And it was wonderful to have a second day totally dedicated to exploring the techniques Barbara and her colleagues developed during her two-year Clothworkers Conservation Fellowship. It was a privilege to be there and learn from her experience.

Here you can see  pics of some of the activities carried out during the workshop - and learn some of the very simple and extremely effective techniques.

Please note that the 'human bones' depicted here are made of plastic and used for training purposes. 

Our mission was to stabilize this without implementing any kind of interventive treatments. Look out for the 'tendons' and 'skin'. A work of art in itself!

Barbara Wills demonstrating how to create a pillow with polyester wadding, teflon and plastazote.

See what the pillow was for?

Wonderful things can be done with pins.

Cutting plastazote has never been so simple.

Creating the perfect support for a skull.

Wednesday, 15 April 2015

Workshop on Conservation of Basketry at Museu de Arqueologia e Etnologia of Universidade de São Paulo (MAE/USP) (Museum of Archaeology and Ethnology, University of São Paulo)

From 6 to 9 April 2015 a group of 20 conservators and other conservation-related professionals got together at MAE/USP to work on techniques of conservation of basketry. The workshop was generously sponsored and organised by MAE/USP, through Ana Carolina Delgado Vieira (MAE/USP) - and led by Renata Peters (Institute of Archaeology, University College London).
It covered tangible and intangible aspects of basketry such as manufacturing techniques, modifications of raw materials, use in original contexts and assessments of significance. The last two days were fully dedicated to conservation techniques.
Besides great knowledge exchange, it was great fun! Here you can see images of some of the activities.

All images by Ana Carolina Delgado Vieira

ICOM-CC's Objects from Indigenous and World Cultures Working Group!

The name change request of the former ICOM-CC Working Group on Ethnographic Collections  was voted on  17 March in Paris during the Directory Board and Coordinators meetings. It was approved with unanimous support from both from the new Directory Board members and Working Group coordinators. 
The working group is now called Objects from Indigenous and World Cultures Working Group! It will take a short while for the website to be changed but we will get there! I will send more details soon. 
Check out the associated FB page here, and Linkedin group here

Saturday, 14 March 2015

ICOM-CC Working Group on Ethnographic Collections' name change

The ICOM-CC Working Group on Ethnographic Collections conducted a lengthy consultation (2008-2011) with its members in order to assess whether they wanted to change the group's name, and if so, what this name would be.  

The results of the consultations and surveys indicated that the name of the group should be changed to Working Group on Objects from Indigenous and World Cultures. A report was sent to ICOM-CC’s Directory Board in 2012, asking for authorization to implement the change but authorization was not granted.  However, during our business meeting in the 17th Triennial Conference in Melbourne it was made clear that the name change is essential to the membership and that we should keep pursuing it. 

Summary of proposal to change WG name from ‘Ethnographic Collections’ to ‘Objects from Indigenous and World Cultures’

1. Justification
The Name Change Committee was formed in response to increasing international scrutiny of terminology, concerns voiced by indigenous colleagues, and almost 20 years of internal group discussion. During the ICOM-CC 2008 conference the issue was discussed in a plenary paper [1] that noted for indigenous people (whose objects the Working Group on Ethnographic Collections purports to represent and advocate for relating to best practice and ethics). 

Current development in international thinking and policy in regards to the use of the word ethnographic mirror these sentiments. In recent years several museums and departments of ethnography have changed their names (British Museum Ethnography Department to Department of Africa, Oceania and the Americas; Royal Ontario Museum Ethnology Department to Department of World Cultures; Frankfurt Museum of Ethnology to Museum of World Cultures for example). Relevant international organisations and institutions have encoded the rights, interests and responsibilities of indigenous peoples in regards to their heritage (for instance 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions; 2007 UN Declaration on the Rights of Indigenous Peoples), as reflected in the 2004 revisions to the ICOM Code of Ethics (Article 7) and the 2010 ICOM Diversity Charter. There is also the question whether objects themselves can correctly be called ethnographic. Originating communities do not refer to their own objects as ethnographic, rather by the name of the culture of origin. As ethnography is the study of cultures or people, labelling something as ethnographic locates its interest purely within that framework. Yet cultural material is of cultural importance, beyond this study. While in Europe the term ethnographic is usually not considered pejorative, in a post-colonial context (Africa, Australia, New Zealand, Canada, United States and South America) it can be. In the words of a surveyed member of the Working Group on Ethnographic Collections; ‘I don’t consider the term ‘ethnographic’ to be racist or derogatory, but obviously many conservators do.’ As a consequence of these considerations, a discussion document was written and circulated by Carole Dignard (committee chair)2 and after this dissemination, relevant constituents were surveyed to ask if they believed that our working group required a new name (Members of ICOM-CC Working Group on Ethnographic Collections as well Ethnographic Conservation listserv members; Non-Members below) with a clear majority of respondents stating YES (70% Members, 68%Non-Members; Survey 1 June/July 2011).

2. Processes of consultation
As a result of a clear mandate for a name change, a number of processes to develop an alternative were undertaken as follows:
1.     Discussion Paper, April 2011 (definitions of terminology, pros and cons of change, 14 possible names)
2.     Membership Consultation survey1 June/July 2011 (26 possible names for ranking, 107 Members, 170 non-members surveyed; 40% response rate, 70% of members in favour of name change)
3.     Second Discussion Paper May 2012 (paper on WG Vision, broader context for name change, names or terms not supported by survey 1, discussion of three top ranked names; 1. WG on Objects from Indigenous and World Cultures 2. WG on Indigenous and Local Material Culture 3. WG on Indigenous and Traditional Material Culture)
4.     Membership Consultation survey 2 June 2012 (40% Member response rate; 63% Members who responded chose WG on Objects from Indigenous and World Cultures, 93% were satisfied with the Name Change process, 0 were unsatisfied, 7% were undecided)
5.     Membership Consultation survey 3 October/November 2012 (YES/NO to support name change to WG on Objects from Indigenous and World Cultures (response rate 36% Members, 20% Non-Members; YES =85% Members, 86% Non-Members; NO=10% Members, 11% Non-Members; Undecided/Other =5% Members, 3& Non-Members)

·       An exhaustive, consultative and democratic process has been followed, with a very high rate of participation
·       The experts in this field of conservation (i.e. members of this specific working group and their peers) are overwhelmingly in favour of a change
·       All ICOM-CC rules and procedures have been adhered too
·       So far the DB has responded negatively to the name change. Impediments to this change as articulated by past responses of the DB;
a) are contrary to the wishes of the members of the group in question (DB members stated they think name change unnecessary)
b) imply that the DB has greater knowledge than those in the group (DB stated they would like to choose the name from several options; DB members stated they think name change unnecessary)
c) ignore a democratic and consultative process (while not all members participated, a very high proportion did , and were overwhelmingly in favour of one name)
d) have no basis in ICOM–CC regulations (DB members stated our WG should consult with ICME; that all members have to agree)

1.     Bloomfield, T. 2008. Pupura te mahara - Preserving the Memory: Working with Maori Communities on Preservation Projects in Aotearoa / New Zealand. Preprints ICOM-CC Triennial. New Delhi.
2.     Dignard, C. 2012. Report to the ICOM-CC Directory Board Concerning the Possibility of Changing the Name of the ICOM-CC Working Group on Ethnographic Collections (WG-EC)- July 12, 2012 
3.     2007 UN Declaration on the Rights of Indigenous People 

Wednesday, 11 March 2015

Project Mosul needs volunteers

Project Mosul needs volunteers. Please consider giving some of your time to them.
They are looking for volunteers to help virtually restore the Mosul Museum. This includes finding photos, processing data, contributing to the website and generally helping out with organising the effort to identify the museum artefacts. If you can help, drop them an e-mail at

Wednesday, 11 February 2015

Let's talk about the conservation of contemporary art: curator and conservator converse at the Zabludowicz Collection in London

Let's talk about the conservation of contemporary art. Tomorrow at the Zabludowicz Collection in London.
In conversation with the Partial Presence exhibition curators.
Nayia Yiakoumaki, Curator at the Archive Gallery at Whitechapel Gallery and Renata Peters, lecturer in Conservation of Archaeological Artefacts at UCL, explore how curatorial practices engage with archives and collections to reactivate stored and archived artworks. Taking themes in the show as a starting point, they will discuss the impact archival practices, preservation and documentation process have on shaping the legacy of an artwork.
See more details here:…/talk-nayia-yiakoumak…

UCL Conservation visit to the British Museum's World Conservation and Exhibitions Centre

Conservation students and staff from the UCL Institute of Archaeology spent yesterday's afternoon visiting the British Museum's World Conservation and Exhibitions Centre. 

It was a busy and very exciting afternoon. We visited Ceramics & Glass, Metals, Organics, the Archaeological Suite, Paper, and the Hirayama Studio. The studios have just been installed in the new building (except for Hirayama that has been there since 1994).  Really amazing facilities! All the conservation labs are above ground level, with lots of natural light and beautiful Bloomsbury views. It was wonderful to see the work our BM colleagues are doing. It was also great to see many of our former students in action! Many thanks from all of us at UCL! 
Our hosts also provided access to Science - in the basement. 

And here are some of the UCL visitors waiting for the wonderful Jordina to pick them up at the  Court  Restaurant. Below you can see us waiting for the lift to go from the Organics Lab to the Science Labs (see wonderful Bloomsbury in the background). People: Angeliki, Kathy, Eli, Maddie, Eri, Cuong, Young, Jan, Alicia, Cyril, Rafie, Jamie, Lisa, Elina, and  Renata (not in the pics, we didn't have a selfie stick!). 

Thursday, 22 January 2015

Collateral Damage: Conflict and the Iraq Museum Looting

By: C. Miller

Abstract: This poster is intended to inform the audience about the Iraq Museum looting in 2003 and the role of international organisations in conserving museum collections impacted by war.

Target Audience: Conservators, archaeologists, foreign service officials.

Sunday, 18 January 2015

Shattering the Myth of Objectivity in Conservation

By K. M.

Abstract: Conservation, like any other human endeavor, is necessarily coloured with subjectivity, and this subjectivity should be embraced rather than covered up.  The conservator is not some mechanical, objective being which operates outside of history and whose work is beyond reproach; rather, he is a fully human agent embedded in a cultural and intellectual milieu, doing his best to make decisions for the good of other human beings who find value in objects.

Targeted Audience:  An art history, philosophy or conservation conference

Thursday, 15 January 2015

Can Time-Based Media Installation Be Preserved?

By: P. Wang

Abstract: Conservators are confronted by the preservation challenges of time-based media installation, including the documentation of its intangible and technological aspects. Three strategies are proposed here, followed by a case study: TV Garden of Nam June Paik. The case study demonstrates how to apply the methods of 'migration', 'emulation', and 'artist interviewing' without losing the original intents of the artist.

Target Audience:  A conference associated to contemporary art conservation

From Vandalism to Culture: An Evolution of Graffiti

By: J. Hamilton

Abstract: Using traditional definitions of both vandalism and graffiti, in addition to an exploration of cultural significance and culture using the 1994 UNESCO Nara Document on Authenticity, this poster will examine the evolution of graffiti from vandalism to culture; this exposition also advocates for graffiti conservation and a redefinition of cultural heritage in contemporary society.

Targeted Audience:
The intended audience and context for this poster is conservation conferences where cultural heritage professionals, urban historians, curators and gallery owners, museum trustees and directors, city and government officials, conservation professionals and students would be in attendance.

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