Creative Endeavors and Expressive Ideas: Emerging Conservators Engaging through Outreach and Public Scholarship – Outreach to Allied Professionals

ECPN interviews emerging conservators reaching out to professional allies

LeeAnn Barnes Gordon, Museum of Fine Arts, Boston

Tell us a little about yourself-your background, where you’re working now and what you do in your current position?

I’m a recent graduate of the Winterthur/University of Delaware Program in Art Conservation. I work at the Museum of Fine Arts, Boston (MFA) as the Sherman Fairchild Fellow in Objects Conservation. At the MFA I am engaged in a variety of general conservation activities including examination and treatment, scientific analysis, exhibitions, and outreach. Through my conservation duties I interact with a broad range of museum professionals, interns, and the general public.

I have a special interest in archaeological conservation, and last summer I worked as the conservator at an archaeological field school in Cyprus.

I have been actively involved with AIC undertakings including several recent OSG Archaeological Discussion Group projects and the AIC Conservation Wiki.

What form of outreach are you using? If it is an online tool, please specify which platform (Blogspot, Tumblr, Twitter, etc.)

In the fall of 2011 I worked with members of the OSG’s Archaeological Discussion Group to create a brochure on Archaeological Conservation.

Who would you say is your target audience?

The primary audience for the brochure is field archaeologists, including project directors, staff, specialists, and students.

What were/are you trying to achieve using this form of outreach? Was it met or solved using this particular approach or tool?

The OSG’s Archaeological Discussion Group wanted to raise awareness among archaeologists about archaeological conservation as a profession. The group was keen to find ways to improve the accessibility of conservators to address statements that archaeologists “don’t know how to find conservators” for their projects. The brochure was created specifically as a handout for archaeological conferences, such as the Annual Meeting of the Archaeological Institute of America (AIA), where it would supplement a booth display about conservation. The brochure provides a convenient, portable reference about archaeological conservation with a focus on excavations at both terrestrial and underwater sites. It includes online resources and contact information. Colorful photographs, many of which were supplied by emerging conservators working on archaeological materials, are featured throughout the brochure to illustrate a variety of conservation activities described in the text.  Most importantly, the brochure highlights archaeological conservation as a profession by emphasizing the specialized training that conservators of archaeological materials receive, as well as the role of our national membership organization, AIC, in establishing codes of ethics and guidelines for practice. At the 2012 AIA Annual Meeting the brochure was available at an exhibit booth hosted by AIC.

Is there anything you would do differently, or any recommendations you would make to other conservators who might want to use your approach / tool for themselves?

In general, creating a brochure as an outreach tool provides a flexible format that can be used in both a printed and digital form. At the AIA meeting we had positive comments and feedback about the brochure. I thought the handout was successful because it is a tangible resource that archaeologists can take with them, but it is important for AIC to maintain a presence at conferences and meetings like this in order to continue to network and reach more individuals.

Have your outreach endeavors produced any unexpected outcomes or benefits?

Not that I’m aware of….it may be too soon to say.

Check out the Archaeological Discussion Group’s website to learn more about this new initiative: www.conservation-us.org/archaeology

Archaeological Conservation Brochure Acknowledgements: Jessie Arista, Claudia Chemello, Suzanne Davis, Morgan Gilpatrick, Molly Gleeson, Susanne Grieve, Steven Koob, Ariel O’Connor, and Ruth Seyler.

 

Tara Hornung, Denver, CO

Tell us a little about yourself-your background, where you’re working now and what you do in your current position?

I came to conservation as an artist and discovered museums while an apprentice at the Fabric Workshop and Museum in Philadelphia.  I have worked in museums for over ten years and earned my masters degree from the Conservation Center, New York University.  Currently, I am a conservator in private practice providing conservation consultation, project management, and treatment services for archaeological, historic, and artistic objects in private and museum collections.

What form of outreach are you using? If it is an online tool, please specify which platform (Blogspot, Tumblr, Twitter, etc.).

I present workshops for artists on archival materials.  I am a photographer and printmaker, so I focus on teaching hinging, matting, and framing for artists who work on paper.  Although that is not my specialty as a conservator, I consult with colleagues on best practices and try to translate that for artists.

Who would you say is your target audience?

For my framing workshops, I am targeting artists who are interested in best practices for exhibiting their works on paper and photographs. Most recently, I presented a workshop at the Light Room:  A Photographic Community in Philadelphia.

What were/are you trying to achieve using this form of outreach? Was it met or solved using this particular approach or tool?

I try to teach the basic vocabulary of archival materials so that artists can choose products based on a knowledge of what I ‘archival’ means vs. a product label.   I demonstrate the basic techniques of archival hinging/ mounting of works on paper and photographs, and work with individuals to problem solve a best practice solution for their artistic vision.  Finally, I try to convince artists that it is worthwhile to choose archival materials.  I believe that the workshop format is successful because it is a forum for dialog and discussing specific solutions.

Is there anything you would do differently, or any recommendations you would make to other conservators who might want to use your approach / tool for themselves?

My approach is informed by my own background as an artist with an understanding of the cost and time of preparing works for exhibit.  I present best practices and then suggest a middleground based on how the workshop participants are willing to allot time and money.

Have your outreach endeavors produced any unexpected outcomes or benefits?

I convinced a workshop participant to stop using double stick tape to mount his salt prints.  I continue to learn techniques for mounting and framing works on paper and photographs, which expands my knowledge of the field of conservation and fosters commraderie with my colleagues.

To learn more about Tara’s work, check out:  http://artifactconservationservices.com/

Or her Facebook business page:  Artifact Conservation Services