Category → museum careers
It’s a hypothetical question, really, because Beckham has certainly owned a lot of footballs.
But let’s just consider the ball that he famously kicked in 1996 from the halfway line, the one that landed spectacularly in Wimbledon’s net and helped make him famous in both the UK and abroad.
So you could argue that this ball should end up in a British museum, given Beckham’s huge impact on sports culture in the UK at the turn of the 21st century. Kept under the right temperature, humidity, and light conditions, a leather object like his football could potentially last thousands of years before degrading into a mess of gelatinized protein.
But really, should a museum pay the energy bills to keep his ball under optimal relative humidity, light levels and temperature so that it lasts for a millennium or two to come? Will people care about David Beckham’s ball in 50, 100, or even 500 years?
What about other cultural heritage objects, such as Albert Einstein’s papers? Or a Van Gogh painting? Or an Ansel Adams photograph? In other words, long should museum or archive collections be expected to last?
In principle “we’ve been working on the premise of forever. But that’s actually not realistic. Nothing lasts forever,” said Paula De Priest, deputy director of the Smithsonian’s Museum Conservation Institute. Continue reading →
I love you.
I’ve been conducting a rather unconventional poll.
It consists of a single question posed to unsuspecting conservation scientists, typically during conference coffee breaks or at the hotel bar thereafter:
“Um. So have you ever bought anything on eBay… I mean, for your scientific work?”
What’s amazing is that researchers working with cultural heritage objects as diverse as Picasso paintings, plastic sculpture & toys, and digital art have all answered “yes.” Continue reading →
Come To Culture Lab: Science On Art And Artifacts, A Conference Session This Saturday In Dublin At ESOF
I’m looking forward to moderating a session on art and artifact science at the Euroscience Open Forum (ESOF) conference this Saturday morning from 10:45 am – 12:15 pm in the Liffey B room.
If you’re in Dublin at ESOF, do stop by! Here’s what you’ll be in for… (the shortened version of my pitch to ESOF):
When you mention art or cultural heritage science, most people think about authentication of a priceless masterpiece or identification of a pigment on a Rembrandt or a da Vinci.
They’re developing tools to study artworks and artifacts without actually touching them, so that you can tell if Picasso produced a particular masterpiece with hoity toity expensive artist paint or industrial wall paint.
They’re getting into the minds of ancient cultures by recreating their recipes for everything from hair dye to incense.
And they’re dealing with what some call the digital art crisis: how do you preserve or conserve art that employs obsolete hardware or software, or art that is stored online in fleeting formats or impermanent platforms.
Here’s who’s speaking at the Culture Lab session: Continue reading →
We all sweat.
Some of us do it rather profusely, particularly when life suddenly gets a tad more exciting or stressful than usual. Such as on your wedding day. Or during military combat. Or on your coronation day—if you happen to be royalty.
Clothing worn during historically important events often finds its way to museums, and that’s when a textile conservator will take a good look—and possibly a deep sniff—in an outfit’s armpit region.
According to four textile conservators who humored my—as it turns out—not so absurd sweat stain inquiry, armpit areas can be colored yellow (no surprise there), but also green, orange, brown and red. The quirkiest sweat stain reported was “a grey-green tide-line stain… with a pinkish interior.”
Staining can depend on a myriad of factors, such as the individual wearer’s sweat chemistry, the fabric, the dye, and whether the person was wearing deodorant or antiperspirant.
Consider the case of a World War II wedding dress that crossed Jessie Firth’s conservation table at the Australian War Memorial. Worn by five different women in the 1940s, the pretty beige dress had green armpits. Continue reading →
I’ve just arrived in Lisbon, Portugal, along with 900 other delegates interested in the conservation of art and artifacts, for the International Council of Museum’s Committee for Conservation (ICOM-CC) conference.
The mega meeting happens every three years and this time it’s taking place at a conference center in the shadow of the Ponte 25 de Abril, a bridge so reminiscent of San Francisco’s Golden Gate Bridge that I almost got a craving for sour dough. (That’s before I renewed my love affair with pastel de nata, Portugal’s joyous custard pastries.)
The menu for this year’s conference looks so good, I’m not sure whether it is physically possible to take in all the great talks that are scheduled.
Just this afternoon I’m going to learn about conserving wall paintings from Guatemala to India. There’s also a session about the trend among natural history museums to transfer animals (such as sharks) that are currently preserved in formaldehyde or ethanol in to other preservation solutions.
(The problem with formaldehyde is that it’s carcinogenic for museum staff, and DNA in the samples is compromised, thus thwarting the new trend of sequencing the genome of such artifact animals. The problem with ethanol is that long term storage in the alcohol can bleach color from animal samples and mess with their skin texture.)
I don’t want to miss out on the talks about analytical technologies used for auntheticating the origin of ancient photographs, nor how to detect microbial contamination in paper-based cultural heritage–even before any damage is done. And there’s also a whole section on environmentally sustainable conservation, which I touched upon in a previous post.
Stay tuned this week for more conference goodies from Lisbon. Até logo!