Side by side: old and new standards in the conservation of modern art. A comparative study on 20 years of modern art conservation practice

Conservation of modern art has in the last 20 years developed from a singular case-by-case approach into a full and independent specialization in conservation with its own strategy, theory, and ethics. The methods applied today are both newly developed and partly a continuation of traditional conservation standards. New is the special focus on the artist and his intent, and on the defining of the various artistic concepts, as these elements and the artist as a stakeholder, play decisive roles in decision-making on optional treatment interventions. Challenging new materials (plastics, light, food, kinetic art, or re-used objects) require ongoing research to formulate specific instructions, and special designed guidelines for conservation, putting a new perspective on collections care. As contemporary art may be produced by the artist, by assistants or industry, and can be made of artists' materials, anything from the hardware store, re-used or reworked objects or intangible elements, the reassessing of definitions on authenticity and originality eventually lead to the reformulation of standard rules on retouching, reversibility and in particular reconstruction. Thus new conservation strategies have been designed for various types of contemporary art, where applicable built from old standards.     

Conservation strategy for food-based perishable art: preservation versus reconstruction illustrated by Piece in Ghent by Jason Rhoades (1994)

The aim of this paper was to discuss the role of food preservation science and technology in the conservation of complex food-based installations. By introducing the principles of food science and food preservation into the decision-making process for the conservation of contemporary art, more insight on conservation and presentation possibilities was created. Considering the installation Piece in Ghent (P.I.G.) by Jason Rhoades, which contains French fries, the principles of food preservation science were evaluated. The preservation of the original foods was discussed against the potential of a reproduction of the foods. The context for conservation was determined by analysing the artist's intention, the production method of the artwork, and the degradation processes of the food materials. From the results obtained, guidelines to preserve the ‘original’ foods were proposed, as well as guidelines to reproduce foods that can last longer. The study demonstrated that food preservation science contributed to the development of effective strategies for the conservation of contemporary food-based art.     

北平私立木斋图书馆藏书聚散及价值

藏书的聚散是中国藏书文化研究的重要资料。卢木斋是清末民初著名藏书家、实业家、教育家,一生致力于兴学办馆。北平私立木斋图书馆是他独资兴建,以家藏为基础,最能体现收藏特色和藏书价值的图书馆。其藏书不仅保存了众多珍稀版本,也反映了当时社会文化和科技发展的状况。研究北平私立木斋图书馆的藏书特色和价值,可以提供更广泛的应用价值。参考文献9。     

Professionals: their problems, their fears, and their social responsibilities

Professional societies have been reluctant to enter actively into the public processes by which decisions are made on economic, social, and political issues. This reluctance comes from (1) fears about the status of the profession and the professional society, (2) fears about economic reprisal, (3) potential conflicts between the goals of a philosophy of trade unionism and the goals of a philosophy of professional social responsibility, and (4) domination of some professional societies by nonprofessional business, industrial, or administrative groups. This reluctance has been justified by the development of a myth that the professional can exercise individual social responsibility while maintaining the neutrality of his institutions and societies. This myth must be ignored because our public decision-making processes can only function properly if groups, such as professional societies, actively enter that decision-making process.     

Indigenous Materials in Libraries and Information Centres in Kenya

This work examines the accessibility of indigenous materials to libraries and information centres in Kenya. An attempt is made to define the term "indigenous materials." Sources of materials are examined, and methods of procurement described. Types of materials produced in Kenya are discussed. Attention is given also to the bibliographic tools roduced and what remains to be done in this area. It is concluded that publicizing the existence of local materials is desirable.     

Study of Post-World War II French Aeronautical Aluminium Alloy and Coatings: Historical and Materials Science Approach

ABSTRACT

In many countries, collections of historic aircraft, conserved in Air and Space museums or local associations, reflect the importance of a national or local history. Mostly parked outdoors, aircraft suffer from significant corrosion requiring conservation operations. During renovation, metallic parts are often replaced by association members. This can lead to a major loss of information since industrial archives dealing with materials and processes do not always survive. However, if these elements can be considered, they could be a fundamental source of information on the materials originally used and of the technical history of aeronautics. This work reports a thorough study of aluminium-based alloy parts collected on a Breguet aeroplane dating from the 1950s, during its recent renovation. Thanks to an approach coupling multi-scale material characterisation and research in archives, information on the industrial knowledge is revealed. Several historic grades of aluminium-based alloys were found, namely A-U4G, A-U4G1, and A-U3G, depending on the role of the part. Similarly, different protective coatings were identified (anodic oxidation, primers, and paintings), depending on the role of the metallic part and its location in the plane. Knowledge of the materials from bulk metal to the coated surface is necessary for good conservation practices regarding aeronautical heritage artefacts. Related documents and archives also fundamentally help in understanding such complex artefacts.     

Conserving contemporary artworks: perspectives of artists and curators at the National Art Gallery of Zimbabwe

In fine arts, contemporary artists seek to showcase their artistic skills and concepts. There is very little awareness by most artists on the quality of materials they use in art production and the conservation needs of contemporary artworks which pose conservation challenges as materials used and the physical quality of artworks produced are secondary to what the artists seek to express. Of prime interest to them is the expression of concepts through various genres of art creation. However, the quality of material used by most artists is largely affected by their financial situation and inadequate knowledge on the durability of such materials. Artworks created using recycled materials such as found objects and cheap materials like poor quality paint on paintings, low grade paper in artworks, or poor quality wood present conservation challenges to professionals in galleries. The end product are artworks made from composite materials, some stable and unstable. Thus professionals are faced with a dilemma to reconcile the conservation needs of these artworks and the artists’ expression of their concepts. Moreover, in the absence of remedial conservation measures, artworks are prone to deterioration. This is worsened by dwindling donor and government funding which negatively impacts on the gallery's capacity to conserve the art. Additionally, conceptual expression, artistic creativity, and commercialisation of the art are of priority over conservation. Therefore there is need to maintain a balance between the need to express concepts and commercialise the art on one hand and to conserve the contemporary artworks on the other hand.     

2004-6-16 to 2014-8-15: The birth and death of a work by Gu Dexin

Conservators who work with contemporary materials are experiencing a paradigm shift that affects not only their role, but also the decision-making process associated with each unique work. Importantly, such actions sometimes contradict established preservation doctrine. This paper describes the challenging preservation efforts associated with a large-scale sculpture/installation produced in 2004 by Gu Dexin. Those efforts contradicted many of the standards and ethics of conservation, particularly considerations related to compromising the life of a given work. Ultimately, the decision made in this case led to the demise of that object. This paper will include information obtained from the various stakeholders — including the donor and the artist — and a compendium of the exhaustive considerations that facilitated the final decision.     

Investigation of the materials found in the studio of Francis Bacon (1909–1992)

Abstract

The investigation of materials found in Bacon's studio is reported. The contents of the studio are examined and interpreted to identify the materials and colours most favoured by Bacon, and the range of media used. A small number of colours appear to have been heavily used. Some objects used as tools in the painting process are also investigated and explain textures seen in paint in his works. Samples of selected materials from the studio are analysed to identify the components of paints (pigments, extenders, and binders) used by Bacon. This investigation is part of a wider project examining his materials and techniques. The analytical information obtained here from the studio helps to clarify the statements made by Bacon in interviews regarding his use of materials and is proving useful in the identification of materials in his paintings, in order to help with the conservation and authentication of his works.     

艺术对摄影的影响

从开始喜欢摄影到现在已经有两年多时间了,对摄影一直有一个比较模糊的认识,一直以为只是拿着相机,对着被拍摄物体接快门,很简单的一件事,慢慢的通过与许多专业人士的交往才发觉摄影原来不止是那么的简单,拍摄出来的作品好坏,与作品本身并无多大关系,关键的是作品有无内容,有无作者关于作品的感悟。     

杨昭悊早年图书馆学行考

作为我国现代图书馆学和图书馆事业的重要奠基人,杨昭悊先生早年的图书馆学行活动是相当重要的文献史料。阐述了杨先生译介《图书馆学指南》的缘由及其撰著《图书馆学》的自觉与影响,评述杨先生赴美途中对日本图书馆的报道与推介,考察其早年图书馆学行活动,以原始史料复原这位早期图书馆事业先行者令人尊敬的图书馆精神与情怀。     

黄本骥家世生平考述

黄本骥是清代道咸年间一位重要的湖湘学者,但目前关于其家世及生平的研究尚存在不少空白。本文以《宁乡田心黄氏四修支谱》为主要材料,略述其家世背景,并结合黄氏著述,考辨以往研究中对其生卒时间、出生地点、求学应试及师友交游等方面的错误说法。     

Evaluating the Intersection Between WorldCat Local and Student Research

The College of St. Benedict and St. John's University Library have used WorldCat Local as a discovery tool since 2008. After four years of use and numerous anecdotes about the difficulties encountered with this product, a committee was formed to test the tool's usability and effectiveness. Seven female and six male students were asked to find appropriate materials within WorldCat Local for a mock research assignment. The students’ research and thought processes were recorded and studied. The recordings were analyzed by the committee, and the search strategies as well as the materials selected by the students were evaluated and scored. Although the sample size limits generalizability, the videos provided an in-depth look into the students’ research processes and their evaluation of what they found. Students generally fared well when asked to identify suitable books for their research topic, but they encountered many difficulties interpreting article records and identifying appropriate articles. Some WorldCat Local interface features appeared to be either the source of student problems or were not used effectively. Anyone wanting to replicate this study in his or her own evaluation of a discovery tool will want to be aware of the issues encountered in this evaluation of WorldCat Local.     

高校图书馆的FTP站点建设

根据高校图书馆的特点，对高校图书馆的FTP站点建设提出自己的一些看法和见解，并建立了图书馆的FTP站点。     

开拓与融合--论鲁迅的现代书籍装帧艺术实践

本文从开启现代书籍装帧设计新风尚、在多元借鉴中突出民族性、为现代书籍装帧设计培养新型人才等方面论述了鲁迅的现代书籍装帧艺术实践。当年,在鲁迅的亲自推动下,书籍装帧艺术在创作实践、理论研究以及创作队伍等方面都取得了开创性进展,中国现代书籍装帧设计事业由此而奠基。作为中国现代书籍装帧设计艺术的开拓者和先行者,鲁迅关于书籍装帧设计事业的指导思想及其实践对当下仍具有方向性和启示性意义。     

EARLY MULTI-PLATFORMING

Early examples of the re-purposing of material from one medium to one or several others are examined through various cases of television cooking programmes and associated print materials. The presenter was the key property uniting the materials and the first television cook to be examined here is Philip Harben, who started on the BBC in 1946 and whose first spin-off book appeared in 1951. A small discussion of Julia Child's American work precedes the main focus, which is on the British-born Graham Kerr, from his first television work in New Zealand in 1961, through his period in Australia from 1965, to his move to Canada in 1969. During this period the serious hardcover publications were not directly associated with television, while those which stressed the televisual relationship had lower production values and needed to justify their existence with explicit commentary on the service they were providing to viewers. It is these latter however which provide valuable information about the early everyday experiences of watching television.     

孙述万生平述略

孙述万,1925年毕业于华中大学文华图书科,曾任湖北省立图书馆馆长、厦门大学图书馆主任、浙江大学文理学院图书馆主任、国立北平图书馆期刊组及西文采访组组长、西南师范学院图书馆馆长等职。文章聚焦图书馆人孙述万,从家人回忆说起,以留存手写履历、友人来往书信、旧时照片和工作聘书等档案材料为线索,梳理考究孙述万生平和足迹,重点回顾他轮换多馆、辗转各地的图书馆从业经历,总结孙述万对中国图书馆学事业的贡献。     

探究图书馆学家戴志骞转行与归宿之谜——戴志骞生平再考

从戴志骞寄给美国校友的两封信件、纽约州立图书馆学校的学生登记簿以及戴志骞博士论文的导言等一手英文史料中,发现戴志骞早年学习勤奋、成绩优异,但身体状况不佳,几度影响到学业和事业。1930年,他因病辞去中央大学副校长之职,赴东北疗养。其间,他考察了满洲地区的资源和经济发展情况。为阻止日俄势力侵入,开发东北边疆,实现国家和平,戴志骞决心在满洲充当一名金融与投资领域的拓荒者。为此,他放弃了原本的专业,并有意将自己在图书馆界和大学管理界取得的地位让给训练有素的年轻一代。1931年以后,戴志骞长期就职于中国银行。1951年,他和夫人移居阿根廷,直至1963年逝世。     

Sergius Yakobson in Europe and America

This article is devoted to the career of Sergius Yakobson, a librarian, historian, and educator. Its first part focuses on his role in the development of the Slavic collections of the Library of Congress in the 1940s to 1950s after his emigration to the United States. In the second part, the author compares ways in which Slavica, Rossica, and Sovetica developed in America and France during and after World War II, using materials from Yakobson's survey of Paris Slavic collections made in 1953. The final part briefly discusses his work as a Sovietologist.