By Hanna M. Szczepanowska
Conservation of Cultural Heritage covers the equipment and practices wanted for destiny museum pros who can be operating in a variety of capacities with museum collections and artifacts. It additionally assists present pros in figuring out the advanced decision-making techniques that face conservators each day. the individuality of this booklet lies in correlating the elements of fabric technological know-how and the behaviour of artifacts in a museum setting. it is going to be of specified gain to museum execs no longer informed in conservation.
Covering a extensive diversity of subject matters which are key to sound conservation within the museum, Conservation of Cultural Heritage is a crucial device for college students and execs alike in making sure that most sensible perform is within the protection of vital collections.
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Extra resources for Conservation of Cultural Heritage: Key Principles and Approaches
Documentation is carried out at many levels and at each stage, capturing the object’s condition prior to treatment, results of the analysis and examination, progression of a conservation process, and condition of object after completion of treatment. Consultation and assistance to museum curators and other scholars-researchers Historically curators have used museum objects as the primary reference in their research and exhibited material to educate the public. The curator’s main objective was therefore the object’s usage.
Exhibitions, communicating and educating come only later in the conceptual order of things” (Donahue, 2004: 4). In an ideal world all objects in a museum should be well taken care of. Unfortunately, museum operations reflect a real-world dilemma; museums are underfunded and understaffed, which has a direct impact on the quality of collections care. This situation is uniformly noted in all countries, as indicated in periodically conducted surveys. As Knell mentioned in 1994 and repeated in 2001 in his Introduction to Care of Collections, “much of the world remains in deep recession – a recession which has produced a worldwide cut in museum staff, and museum closures” (Knell, 2001: 3).
How do we preserve those objects if any intervention and introduction of conservation materials will inevitably change their composition and will obscure the evidence? This ongoing debate began in the 1980s and continues to this day (Drumheller and Kaminitz, 1994) There is no clear answer or clean-cut formula that can be applied. In an ideal situation the decisions regarding care and maintenance of a particular object or collection are reached among the curators collaborating with conservators and the advocates representing the culture that produced a particular object.