“We Had More Because We Lived It”: The Dilemma of Intangible vs. Tangible Conservation for Native Peoples by S. Giffin

The conservation of tangible and intangible object values is a dilemma faced by many conservators and curators.  While Western museums often focus on the tangible aspects of objects, indigenous communities many times stress the unseen intangible qualities of their heritage.  Allowing for indigenous input in the preservation of their own heritage will hopefully help museums preserve both the physical objects and the cultural meanings behind them.

A Deadly Culture: Toxic Pesticide Use on Native American Objects, by N. Frankel

Historically, organic objects in museum collections have been treated with a variety of highly toxic pesticides. This includes most Native American objects, which may be handled and used ceremonially while on loan or after repatriation. Not only does this raise serious health and environmental concerns, but it also may affect the spiritual value of the object.

Helping to Restore More than Artefacts: Local Engagement in Conservation after the Haitian Earthquake, by M. H.

 

Involving local volunteers in heritage conservation after natural disasters benefits conservation as a profession by opening up a very specialized field to new perspectives and insights, helping people cope with the devastating mental and physical damage after natural disasters, and ultimately setting upprograms to facilitate local control of conservation.

Conservation Notions in Practice: Neutrality, Objectivity, Reversibility, by J. Cutajar

The professionalization of conservation has occurred contemporaneously with a continuous re-evaluation of its code of ethics – by looking at these principles more as flexible notions of practical wisdom, their attainability and use within the profession is considered and applied to the conservation of the Ħaġar Qim and Mnajdra Temples in Malta.

Issues in the Conservation of Contemporary Art, by E. Williams

The conservation of contemporary art is an important topic because it is the art that reflects our society. Art comes in all forms nowadays, and it includes works like installation and performance. 

When it is not the object’s materials that are unstable, it is the conservation of the concept or intent of the work that needs to be conserved.

Conserving Collections of Conflict: Imperialism and Cultural Identity, by K. Gillette

'The Royal Museum for Central Africa in Belgium houses one of the most varied collections of zoological specimens and cultural artefacts from the Congo.  The collection, however, was compiled through the brutality of the Belgian colonization of the Congo.  This poster narrates the foundational history and causes for the loss of context in Congolese objects and offers observations on why and how a conservator should address this collection’s context.'

Face|Off: The Conservator as Cultural Arbiter, by V. Applebaum

'Conservation professionals must assimilate varying values to ensure their work reflects respect for the identity of the community who claims ownership of an object or site. While circumstances and issues can differ for a conservator, the results of their work are a demonstration of the tenuous compromise between professional and personal values. Competing and conflicting values of aesthetics, commemoration and political sensitivity become part of the conservator's arbitration, especially when dealing with sensitive subjects such as cultural heritage and identity.'

Conquering Disaster Leads to Development in Cultural Heritage Conservation, by S. Tokuda

The First World War and the Florence flood of 1966 were milestones in the development of cultural heritage conservation. The British Museum and the Library of Congress played  pivotal roles in the recovery from these calamities.  These collaborative efforts had great impact and can still be felt today. Likewise, lessons learned from the earthquake of Japan in 2011 are expected to be further studied and shared.

Why is Participatory Conservation Important? By Y. Choc

'Public participation is essential to decision-making in cultural heritage issues, and in recent years it has become an increasingly focal point of the conservation process. The poster outlines the benefits to be gained from participatory conservation, and lists possible methods in which conservators may engage the public to participate. The content is presented mainly from the standpoint of built heritage sites conservation, but the principles apply equally to all conservation specialisations.'

The Immortality of Contemporary Art, Original Artwork or Original Intentions? By L. S.

The multi media that Contemporary Artists use to express their ideas challenge established conservation principles.  The material used to manifest the original concept is often unstable and the physical piece has a short shelf life or ‘see by date’.  The Artist intended permanence of the idea. The purchaser has assumed long term investment of an object.  The conservator must claim membership of the Artists ‘studio support team’.   A new paradigm is required to define the modus operandi of the conservator.