Frequently Asked Questions
-
What is the best way to contact American
Conservation Consortium?
-
Does
American Conservation Consortium offer products for sale?
- What Is conservation?
- How can my museum/organization fund conservation
costs?
Staff is often working at various sites throughout the country.
Therefore, it may be several days or even weeks before we are back in the office
or studio. Generally, the best method of contact is by email at
acc@conservator.com. As a backup,
it is a good idea to leave a voice mail at 603-679-8307. Of course, if we
are there, we will answer your call!
Except for quantity purchases of commercial dehumidifiers by
DEC-ThermaStor and digital low-tech
environmental controls, we do not offer any products for sale.
However, we do provide supplier links
for such items. We offer the dehumidifiers and controls as a service to
the museum community at a deeply discounted-to-the-trade
price.
Stated simply, conservation is the preservation (minimization of future
deterioration),
stabilization (consolidation of existing deterioration), and restoration (repair
of existing
deterioration) of historic and artistic objects. The causes of deterioration are
studied to
better understand how they can be minimized. Environmental conditions are
monitored
and adjusted to approach the optimum level. Treatment materials and processes
are tested
for stability, safety with regard to the objects for which they are intended,
and
effectiveness. Hand skills and knowledge are developed constantly. Education and
dissemination of information are promoted, as is fastidious documentation of
treatments.
Early restorers used methods and techniques that were handed down from one
generation
to the next and were undoubtedly borrowed from the appropriate artistic and
craft
traditions. Due to the effect of the former guild system in Europe, many of
these
techniques and materials were kept secret and a mystique grew about restoration.
In the
second half of the 19th century, economic factors came into play. Values of
historic
pieces were rising and demand was high. Restoration ethics (or lack thereof)
encouraged
the execution of invisible repairs and visual "improvements" to pieces,
culminating in an
entire industry which produced fakes and pieces assembled from old parts.
By the early 20th century, artistic and historic objects were being examined in
a more
academic and scholarly manner. Their importance as cultural documents was being
realized and, as such, the need to preserve them in an unaltered or "original"
state became
evident. A number of individuals in the museum world recognized the benefit of
looking
at deterioration and preservation from an interdisciplinary perspective. They
noted that
science, particularly chemistry, could be applied to better understand the
compositional
nature of a piece. This knowledge, combined with anthropological and art
historical
study of the object and its original production techniques led to a better
understanding of
deterioration processes. While the secrecy of traditional restoration had
prohibited
information exchange, early conservators became committed to open communication
of
ideas and techniques. For the first time, preservation and treatment processes
could be
examined objectively.
As the conservation profession developed, it borrowed techniques of examination
and
analysis from many different fields. These included the use of X-radiographs to
view
hidden areas of a piece, and the determination of an unidentified finish by
infra-red
spectrometry. Original conservation research added new information. All of this
led to
the realization that many traditional restoration techniques, while providing
immediate
visual or structural improvement, were actually causing long-term deterioration.
Research and testing advanced at an ever-increasing pace.
Early training opportunities for conservators consisted primarily of hands-on
experience
similar to a traditional crafts apprenticeship. In order to fill a growing need
for
broad-based training, graduate conservation training programs were developed in
the
1960's and 1970's. Requirements for admission to these Masters degree programs
include
a Bachelor's degree with significant course work in art history, chemistry, and
studio art.
Most programs also require experience as a technician or volunteer in a museum
or
conservation laboratory. The graduate programs generally include two years of
courses in
art techniques, materials science, methods of analysis, advanced chemistry,
museum
studies, conservation theory, and other related areas, in addition to hands-on
work in the
laboratory. Generally, the third year is an internship in a conservation
laboratory under
the supervision of a professionally-respected conservator in the chosen area of
specialization. The great benefit of attendance at one of the programs is the
condensation
of information and opinions that might otherwise require a lifetime to obtain.
Most treatment of horse-drawn vehicles in the past has been greatly influenced
by craft
traditions that dictated smooth, "new" surfaces. Little attention was paid to
original
surfaces or materials, except to serve as a model for remanufacture or
repainting, far too
often executed in an inferior manner. A conservation approach to carriages is
just
beginning to have wide-spread impact. Eventually, a much greater number of
original
vehicles and surfaces can be preserved by utilizing a conservation approach to
treatment.
Conservation Ethics
With the development of the conservation profession as we know it today, the
need
became apparent for a document outlining conservation attitudes. This was
undertaken
by the American Institute for Conservation (Washington, DC, 202-452-9545). The
AIC
Code of Ethics and Guidelines for Practice is embraced by all conservation
specialties.
This treatise represents and summarizes the essence of the conservation attitude
which
flavors every conservation activity and truly sets conservation aside as a
unique
profession. It is recommended that vehicle caretakers familiarize themselves
with the
Code and use it to guide their dealings both with conservators and with the
objects
themselves (copies are available from AIC).
The Code's Preamble nicely explains its entire concept:
"The primary goal of conservation professionals, individuals with extensive
training and special expertise, is the preservation of cultural property.
Cultural
property consists of individual objects, structures, or aggregate collections.
It is
material which has significance that may be artistic, historical, scientific,
religious,
or social, and it is an invaluable and irreplaceable legacy that must be
preserved for
future generations. In striving to achieve this goal, conservation professionals
assume certain obligations to the cultural property, to its owners and
custodians, to
the conservation profession, and to society as a whole. This document sets forth
the principles that guide conservation professionals and others who are involved
in
the care of cultural property."
Integrity of the Object
Perhaps the most important aspect of conservation ethics is an intense respect
for the
integrity of the object, which influences all activities of a conservator, from
recommendations for exhibition to proposed treatments. The original or historic
character and components of a piece must be preserved whenever possible. It is
important to distinguish between original appearance and original components,
which
many times exhibit the effects of age and use. Returning a piece to original
appearance
may necessitate destruction of important information about the materials and
techniques
used by the maker, in addition to obliterating cultural information about how
the piece
was used and eliminating the subtle marks of age. Additionally, it should be
noted that
the original appearance is not necessarily the most important one. Alterations,
both
intentional or accidental, may have been made to the object that are important
from an<
historic or cultural perspective. Examples include a sword slash on a table
inflicted by
Stonewall Jackson during the Civil War, wear on a chair rung, indicating
generations of
supported feet, or alterations to a carriage by the original maker a number of
years after its
manufacture.
Stable, Reversible Materials
Another important element of conservation ethics is the use of materials and
techniques
that are stable and well-tested. It is important to know that a material will
not deteriorate
quickly and, more importantly, that treatment processes will not damage the
object. Many
an object has been significantly harmed because an uninformed individual used a
cleaner
or varnish that slowly but steadily degraded the underlying surface. It is
important to
remember that such deterioration does not necessarily occur immediately, but
over time
its effects can be compounded severely.
Additionally, every attempt must be made to use processes and materials that are
reversible or removable, both immediately following use and after aging. This is
critical
for several reasons. Materials used in conservation treatments are subject to
the same
deteriorative processes as is the object. They will not last forever and the
object
eventually will have to be re-treated. Reversibility also provides for
implementation of
new and better treatments in the future by allowing removal of the initial one
without
causing damage. Finally, there is always a chance something might go wrong
during a
treatment and reversibility insures being able to attempt it again.
Documentation
Documentation of a piece's initial condition and record of treatment is another
important
ethical issue. Conservators produce a detailed treatment proposal prior to
working on a
piece and a treatment report after completion of the project listing the
specific techniques
and materials used. These written records are usually supplemented with a series
of
photographs taken both before and after treatment. The tools of X-radiography,
infrared
and ultraviolet photography, microscopic cross-sectioning, and various
analytical
procedures are used as necessary to provide further documentary information.
Documentation allows present and future owners to know exactly what has been
done to
an object and is especially helpful during future treatments or in the event of
deterioration
caused by previous treatments or improper care. It also prevents
misrepresentation and
confusion over what is original.
In a further attempt to clearly differentiate the work of the conservator from
the historic
components of the object, conservators will often choose to use materials and
techniques
that are easily detected as being modern. An extreme example of this would be
the use of
a plexiglass pedestal to support a coach wheel that is missing several spokes.
In many
instances, this treatment option would be considered too aesthetically and
functionally
severe. A more generally acceptable approach would be to make new spokes of the
same
or similar species of wood as the original, with coloration as necessary to
produce a
harmonious overall appearance of the wheel. Areas that are not normally visible
would
not be colored, allowing easy detection of the new wood.
Single Standard
In determining the proper treatment for a piece, the conservator must not
consider the
piece's value or aesthetic appeal. Each and every piece, regardless of age or
rarity,
deserves the same quality of treatment. In instances where time or funds are
limited, the
extent of the treatment can be adjusted, but never the quality. It therefore
follows that a
conservator can never answer the question of whether it is "worth" treating an
object.
Besides being unethical to consider the piece's value, it is obviously a
conflict of interest
for the conservator, since an affirmative answer will have a positive economic
impact
upon him/her. Only the owner or caretaker can consider value when determining
whether
or not to proceed with a treatment. If the owner is uncertain of the piece's
value, he/she
should consult with a competent appraiser and not with the conservator. Bear in
mind
that value is not only economic, but also includes historic value, cultural
value, and
emotional value as well.
Uniqueness
Each and every piece is unique. These differences may be subtle but they are
extremely
critical. Even if two identical horse-drawn vehicles were made at the same time
by the
same person, changes occurred that were dependent upon the total environment and
history of each vehicle. Each one was probably made of slightly different
materials which
have somewhat different properties. If the vehicles had two different owners,
the
differing temperatures, relative humidities, light levels, and storage
conditions will have
caused differing degrees of deterioration. One owner may have used a cleaner,
which
affected the nature of the varnish, while the other did not. One carriage may
have been
subjected to daily abrasion, bangs, and water, while the other may have been
used only
for special occasions. Obviously, the vehicle receiving frequent use/abuse would
have
required more frequent repair and revarnishing, probably with materials that
were
completely different from the original, and possibly are not easily removable.
Depending
upon the abilities of the repairperson, it even could have suffered severe
damage to its
integrity and character.
For these reasons, the conservator must consider the specific needs and
condition of each
vehicle in order to determine an appropriate treatment procedure. Coupled with
the fact
that there are usually several equally acceptable treatment options, it becomes
obvious
that a conservator must personally examine an object before giving a suggested
treatment.
It is impossible to approach conservation from the perspective of a definite and
consistent
"cookbook" solution for each conservation problem. This is precisely why a
conservator
must have such a broad background of training and experience.
Educational Responsibility
It is the responsibility of the conservator to be aware of the latest
information in their area
of specialization in order to allow the best possible treatment of objects in
their care.
Additionally, conservators have an obligation to the profession to share their
knowledge
with other conservators, including the training of students in both formal
academic
settings and as apprentices and assistants. Education of the public and other
non-conservators is accomplished through publications, lectures, workshops, and
the
answering of public inquiries.
These are several of the key elements of the AIC Code of Ethics. Numerous
specific
guidelines and concepts are generated from the use of these standards. The
knowledge
and application of these are the essence of the conservation profession.
Conservation projects are funded in many different ways. Care and
preservation of collections is a fundamental responsibility of any
not-for-profit institution. However, surprisingly few actually have a line
item in the budget for this activity. This is by far the preferred method
of funding collections care. Without a collection, the public will have no
reason to visit, and the institution may cease to exist. And,
unfortunately, all collections deteriorate. So, the first
avenue of funding is to lobby appropriate staff and members of the Board to make
a permanent and serious commitment to preservation of the collections.
Many institutions, even small, all volunteer ones, have been very successful
in raising collections care funds through donations. These can be based
upon appeals for individual projects, or can be designed around forming an
endowment for overall preservation and conservation. The obvious advantage
of an endowment is that funding is available in future years, so building one
can be well worth the effort.
Grants are a common source of funding for collections care. Very small
institutions have as good a chance of receiving funding as larger ones.
The quality of the project design and the application narrative are the most
important factors. It is definitely worth while to seek professional
assistance in preparing one of these grants. The staff of American
Conservation Consortium would be glad to assist you in this process.
The Institute of Museum and Library Services
provides grants (federal) to museums and not-for-profits that allow preservation
and conservation of collections. Their Conservation Project Support Grant
(CP Grant) may be the most important avenue for conservation funding available
in the United States today. They provide the funding for the Conservation
Assessment Program (CAP - administered by Heritage Preservation) and the Museum
Assessment Program (MAP - administered by the American Association of Museums).
The National Endowment for the Humanities provides extensive funding
(federal) of cultural activities. Of
particular interest are the Preservation Assistance Grants (PAG), which are
non-match grants of up to $5,000, Grants to Preserve and Create Access to
Humanities Collections, a matching grant with awards up to $1,000,000, and
Stabilization of Humanities Collections Grants, a matching grant with awards up
to $700,000.
Another funding alternative is
Save America’s Treasures. This program is
designed for
preservation of nationally significant collections and buildings. However,
it is not only relevant for blockbuster objects, but also for collections of
less significant individual objects that in the composite represent a nationally
significant resource. If, for example, you have the most complete group of
historic furniture made in your region, you can argue national significance for
your collection. You have the best research resource for these objects in
the country. These grants are up to $1,000,000, so the effort to apply can
be richly rewarded.
Many states have programs that will provide collections care funding.
Occasionally, there will be local businesses or foundations that can assist with
preservation. Creativity is often rewarded in the fund-raising arena, so
try all avenues available to you.
