We need principles… For permanent display in museums we need guidelines that are appropriate for local conditions
—Sarah Staniforth, the current guidelines have been in place for six years - it is time to move from interim guidelines. (via icom-cc-live)
We either make ourselves miserable or we make ourselves strong. The amount of work is the same.
—Carlos Castañeda (via likeafieldmouse)
Green Hanging Cacti, 2013
Watercolor paints/pencils and oil pastels on paper
After the 2011 terrorist attack in Oslo, complex decisions had to be made regarding the treatment of a damaged tapestry. Ida Areklett Garmann and others had to balance the artist’s intention and what the tapestry now represented to the people of Norway. Some believed that the tapestry should not be treated, as the damage had taken on an important meaning. Yet the conservators wanted the tapestry to be hung, which would not have been possible without treatment. A compromise was made so that the damage was stabilised, but still visible. Opinions were divided: one critic argued that the treatment should have been more restorative — that the damage done to it was unintentional, and that people were projecting a meaning. Other critics affirmed that the visible scars on the tapestry were representative of a tragedy, and Norway’s potential to recover from it.
- Dominic King.
Do methods of assessment accurately reflect the priorities of teaching?
Jane Henderson and Phil Parkes
deconstruct the ‘aspects of assessment’.
These aspects include standards of practical work - an integral component to conservation masters programs. The grading of each aspect provides visual data.
- Meg Ellis(via icom-cc-live)
Apryl Morden from the Centre for Cultural Materials Conservation presents her PhD research on authenticating art in a legal framework. There have only been two cases concerning problematic art that have been successfully tried in a criminal court in Australia.
Authentication needs to function in a climate where litigious action (resulting from economic impairment) is the probable outcome.
The moral right and copyright of artists exists within a grey area - in a legal context, Morden argues for a code of ethics that drive both copyright and moral rights in art authentication cases. Morden examines the codes of ethics provided by the AICCM and calls for greater transparency of information to govern authentication in the 21st century. Understanding best practice in art authentication in a conservation context is integral, particularly when examining moral rights and copyright of artists to ensure integrity and authority.
A couple of months ago, I asked you guys to help me crowd-source a museum-career-advice column. Several times a week, I get emails from people who want to work in a museum asking me how to get their foot in the door, or how to succeed in a museum career, so I thought a crowd-sourced advice column…