Session 11 - Managing Lifetimes and Loss

By Tatiana Valderrama Gutierrez, Miriam-Helene Rudd and Guadalupe Verenise Cavero Manzanares

The presentations in this session were very interesting, as they addressed the praxis in complex conservation cases such as contemporary art, natural disasters,

 and risks. This also makes us reflect on the theory behind each of these measures and the importance of sharing, writing, and theorizing about them so that they can serve as examples for other cases.

First, we traveled to Edinburgh to learn about how the conservators in Scotland are reconsidering lifespans for contemporary artworks at the National Galleries of Scotland. Lorraine Griffin and Lorraine Maule recorded a dynamic talk, speaking to us from several different locations across the museum. In recent years the cultural heritage field has acknowledged that preserving collections “in perpetuity” is a vague and impossible, though noble, standard. The National Museum of Australia has defined a target lifespan of 500 years, but even this goal is unachievable for some artworks, particularly for collections of contemporary art. The authors of this paper propose strategies such as exhibition substitutes, remaking a work in part or entirely, defining realistic lifespan at acquisition, interventive conservation treatments, and accepting the “death” of the artwork. Regardless of approach, thorough documentation is essential as is open communications between all involved

Sarah VanSnick and Dr. Pedro Gaspar from the Victoria and Albert Museum next presented a new risk- and value-based lighting policy to manage over 60,000 objects on display. They identified problems such as a lack of organizational processes and limited resources. The new policy focuses on protecting light-sensitive objects by establishing an assessment matrix that classifies objects based on their uniqueness, social and historical value. Additionally, they have implemented a micro-fadeometry program and an interdepartmental rotation plan to improve exhibition management, with the goal of conducting 60 rotations annually and expanding in the future.

After learning about how museums are rethinking preventive efforts to mitigate possible damage to artworks, we next heard about an immediate response to upsetting damage wrecked by the unexpected. Suati Rojas and her team presented a study on the recovery of the Lismore Regional Gallery collection following the 2022 floods in Australia. These floods caused devastating damage to the gallery and its 1,400 artworks. The conservation team implemented an emergency plan, moving the works to a controlled environment in Brisbane to prevent mold growth. After a thorough assessment, 849 pieces were recovered, representing 60% of the collection. The experience highlights the importance of disaster preparedness and community collaboration to protect cultural heritage.

Speaking live from Lima, Damia do Carmo offered a comprehensive analysis of two 19th-century Brazilian polychrome sculptures, emphasizing the importance of transdisciplinarity between heritage and forensic sciences to enhance the understanding of cultural objects. Through chemical and physical analyses it was revealed that both sculptures are made of zinc, a material popular in the 19th century, and were possibly altered in the 1950s. The author highlights how these studies contribute not only to conservation but also to historical interpretation, noting that, despite the interventions, these objects retain significant cultural value. The presentation exemplified the potential for interdisciplinary collaboration in preserving and interpreting cultural heritage, a field that, according to Damia, requires a more cooperative and customized approach in Latin America. I find this work both fascinating and relevant, as it demonstrates the power of science in uncovering the hidden histories of historical artifacts.

Finally, we had the presentation by Rob Waller and Jane Henderson who addressed dissociation and loss as critical challenges to sustainable and inclusive cultural heritage conservation through a discussion format that highlighted their differing perspectives. Waller emphasized a set of ten agents of deterioration in risk management, stressing the significance of dissociation, which refers to the separation of objects from their cultural contexts. Henderson suggested expanding the definition of dissociation to include the loss of cultural significance, arguing that conservation should focus on preserving both tangible and intangible values. Both experts agree that conservation should not be confined to material preservation but should incorporate ethical considerations, such as inclusivity and collaboration, fostering a practice that is more resilient and conscious of the social context in which heritage exists. This dialogue underscored the need to redefine conservation as a dynamic process that engages communities and respects the living cultural relationships associated with heritage objects.

We ended the session, the last in the conference, with a lively Q&A with authors joining remotely and from Lima. Rojas was asked about the community involvement and response to the recovery efforts, and shared that there was constant communication. Because the gallery is a regional gallery, the artists are also community members and many wanted to get involved in the decision making process. Griffin and Maule were similarly asked about their interactions with artists, and they shared that they are currently developing an artist interview acquisition policy. When artists are not available for consultation, “posthumous interviews” can be conducted such as archival research and consultations with family, assistants, fabricators, etc. Communication was a common thread throughout the presentations! We heard about the importance of engaging with those of differing opinions, talking to communities and artists, developing new methods of communicating and assessing risk, and sharing data and perspectives between forensic science and cultural heritage. A wonderful conclusion to a collaborative conference, filled with new encounters that will surely lead to even more cooperation in the future. 

BLOG AUTHORS AND BYLINES:
Guadalupe Verenise Cavero Manzanares is a Peruvian Systems Engineering and BA Student of
Conservation and Restoration of Works of Art.
Tatiana Valderrama Gutiérrez is a conservator and restorer of movable cultural heritage in Bogotá,
Colombia.
Miriam-Helene Rudd is an objects conservator in New York, NY (USA).