By Alison Richmond, Alison Bracker
'Conservation: ideas, Dilemmas, and Uncomfortable Truths' offers multi-perspective severe analyses of the ethics and ideas that advisor the conservation of artworks and layout, archaeological artefacts, structures, monuments, and history websites on behalf of society. individuals from the fields of philosophy, sociology, historical past, paintings and layout background, museology, conservation, structure, and making plans and public coverage deal with a variety of conservation ideas, practices, and theories from the united states, Canada, Europe, Australia and New Zealand, encouraging the reader to make comparisons throughout topics and disciplines. by way of wrestling with and providing methods of disentangling the moral dilemmas confronting those that hold and maintain cultural background for at the present time and day after today, 'Conservation: rules, Dilemmas, and Uncomfortable Truths' offers a vital reference textual content for conservation pros, museum and historical past execs, paintings and cultural historians, academics and scholars, and all others invested in cultural historical past theories and practices. Alison Richmond, as a Senior Conservator within the Victoria and Albert Museum and Deputy Head of the Conservation division on the Royal collage of paintings, continues instructing and study roles in conservation concept, rules and ethics, and has built decision-making instruments for conservators. She is an authorised Conservator-Restorer (ACR), a Fellow of the foreign Institute for Conservation (FIIC), and a Trustee of the UK's Institute of Conservation (Icon) when you consider that 2005. Alison Bracker got her PhD within the background of paintings from the college of Leeds, and manages the occasions & Lectures programme on the Royal Academy of Arts in London. As co-founder of Bracker Fiske specialists, she advises at the presentation, description, documentation, and care of artistic endeavors comprising sleek media, and lectures and publishes broadly at the theoretical and functional matters bobbing up from the conservation of non-traditional and impermanent fabrics in modern artworks. * Conservation ethics and ideas, similar to minimal intervention, integrity and authenticity of an item, addressed from quite a lot of specialist and educational viewpoints, together with contributions from curators, museology theorists and philosophers * concept and rules provided and analysed either from a Western point of view and out of doors the bounds of North the US and Europe * Brings jointly conservation conception appropriate to collections, old constructions, monuments and archaeological websites
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Additional resources for Conservation: Principles, Dilemmas and Uncomfortable Truths
In the following paragraphs I outline a basic series of aims for conservation. Do I accurately describe what conservation is and are these aims sustainable for the foreseeable future? Maintain and enhance Societies retain objects because they have value for the members of that society. These include religious values, aesthetic values, roles in ritual or ceremony, association with individuals venerated by that society and the value to educate or inform. Societies that retain objects invariably seek to ‘maintain and enhance’ the value of the object to that society.
Com/). 22. Jonathan Ashley-Smith, “The Ethics of Conservation,” The Conservator, Volume 6 (1982): 1. 23. Jonathan Ashley-Smith, “A Consistent Approach to a Varied Collection,” Restoration: Is it Acceptable? British Museum Occasional Paper 99, ed. Andrew Oddy (London: British Museum Press, 1994), 89. 24. asp). 25. Joyce Plesters and H. Ruhemann, The Cleaning of Paintings (London: Faber and Faber, 1968) p. 427. 26. Muñoz Viñas 212. 27. J. Plenderleith and Alfred Emil A. Werner, The Conservation of Antiquities and Works of Art: Treatment, Repair and Restoration (Oxford: Oxford University Press, 1971).
26–30. 10. Susan M. Pearce, Interpreting Objects and Collections (London: Routledge, 1994), p. 12. 11. Chris Caple, Objects: Reluctant Witnesses to the Past (London: Routledge, 2006) 6–11. 12. Gerry Hedley, “Cleaning and meaning: The Ravished image reviewed,” The Conservator, Volume 10 (1986): 2–6. 13. Olwyn Owen and Magnar Dalland, Scar, A Viking Boat Burial on Sanday, Orkney (Edinburgh: Historic Scotland, 1999) 103–112. 14. Mary Brooks, Alison Lister, Dinah Eastop, and Tarja Bennett, “Artefact or Information?
Conservation: Principles, Dilemmas and Uncomfortable Truths by Alison Richmond, Alison Bracker