Conservation is an interdisciplinary profession and conservators have backgrounds in Fine Arts, Sciences (including Chemistry, Biology and Materials Technology) and closely-related disciplines such as Art History, Archaeology and Anthropology. They also have design, fabrication, artistic and other specialist skills necessary for the practical application of that knowledge.
Conservators usually specialize in a particular material or group of objects such as paintings, art on paper, textiles, archives, books, photographs, sculpture, decorative arts, architecture, archaeology, natural sciences or ethnographic materials. They may also contribute to the field as educators and preservation administrators. Due to rapid changes in each conservation specialty, practicing conservators must keep abreast of advances in technology and methodology.
Contemporary ideas about the conservation and restoration of objects extend far beyond choice of different technical solutions. All conservation work carried out in the museum must follow existing national and international conservation principles outlined in the Venice Charter of 1964, including the further elaboration of this charter to the present day (World Heritage Centre, UNESCO).
The conservator must be able to assess and evaluate individual objects and collections in their historic context, identify and date historical and contemporary materials and techniques, consider ethical issues and work cooperatively with historians, archaeologists and other specialists. They need to work alongside collection managers to plan and manage issues of storage, make preventive conservation decisions and be able to conduct relevant research.
The process of conserving an object begins with the identification of the objectives for the treatment. This stage often requires difficult critical, aesthetic and organizational evaluations. It involves planning and consultation with a range of specialists as well as the community where the object resides. In-depth scientific, historical and cultural research is then carried out before a conservation method is selected. Good sense becomes necessary as the complexity of the choices increase. Generally, the complexity of the conservation treatment is related to the diverse range of materials used, the functions they perform and the aesthetic values they represent. For example textile conservation can include clothing, upholstery, tapestries, carpets, embroidery, and lace. It involves balancing the particular implications of scientific and historic analysis for each of these materials.
Often the debate in this field – animated by scholars, curators and conservators – is stimulating even for those outside the sector. All stages of a conservation treatment are made as transparent as possible by reporting, recording (in data bases), and so on.
Caring for your cultural materials
What is cultural property?
Cultural property includes all objects which have aesthetic, archaeological, historic, scientific, technological, social or spiritual value for this and future generations. This includes archaeological objects, archives and library materials, books, buildings ceramics, ethnographic objects, furniture, film, musical instruments, natural history specimens, paintings, photographs, sculpture, sound recordings, stained glass, glass, machinery, maps, metals, textiles, video, wooden objects, and works of art on paper.
What is the conservation of cultural property?
Conservation of cultural property is action taken to prevent or remedy the damage and deterioration of items of cultural significance. Conservation safeguards cultural property for the future.
Who is a conservator of cultural property?
A conservator of cultural property is a professional with extensive training who has a thorough understanding of the composition of cultural objects, how they respond to their environment, and the processes that contribute to their deterioration.
Some conservators work for public museums. Others deal directly with private clients. Their task is the same: to ensure the long-term preservation of art and artifacts.
What services does a conservator of cultural property provide?
Assessment: The conservator’s first task is to examine objects in order to assess their present condition and make recommendations for their care and treatment.
Preventative measures: The conservator recommends, carries out and monitors procedures that will ensure the long-term preservation of objects. These include safe handling, transportation, display and storage.
Treatments: The conservator cleans, consolidates and repairs objects where necessary.
Restoration: In order that an object may be understood and appreciated, the conservator may replace what has been lost with new materials. In carrying out restoration, however, the conservator observes strict guidelines: it must not involve the damage, destruction or removal of any part of the original object and the compensatory material must be fully removable.
Emergency services: When faced with the results of a disaster such as fire, flood or earthquake, it is easy to believe that cultural items affected by the disaster are so badly damaged they must be ‘written off’.
In Nigeria, a number of conservators have training and experience in salvaging cultural material after fire, flood or earthquake. If approached promptly these conservators can evaluate the situation and advise on the best action to take to ensure the survival of the objects.
Choosing a conservator
When choosing a conservator to carry out treatment, it is appropriate to ask the conservator about his/her training, experience and professional affiliation, and to ask to see examples of the conservator’s work.
Discuss with the conservator what work is to be done and clarify what results can be expected. The conservator should provide a written treatment proposal and an estimate of cost and time. Treatment proposals may be subject to change, but a client should expect to be consulted before the conservator proceeds with a different treatment.
The essential factor in conservation is that any work undertaken should be the minimum necessary to ensure preservation and safe use. If all or part of an object is not reused (a backing card from a watercolour bearing an inscription, for example), it should be kept and handed back to the owner.
Documentation of the treatment carried out should be supplied by the conservator on completion of the work, and recommendations may be given for continuing care and maintenance of the treated object.
Conclusion
In addition to carrying out treatments, conservators can be consulted on general aspects of the care, display, storage or transport of the objects in question. These include advice on environmental and post control and assistance with emergency salvage.
*Osemeikhian is the Principal Conservator, National Museum Benin City.
