Contemporary Art Conservation at Smithsonian's Hirschhorn Museum발음듣기
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Contemporary Art Conservation at Smithsonian's Hirshhorn Museum
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Contemporary Art Conservation at Smithsonian's Hirschhorn Museum
I'm Gwen Ryan, and I'm the sculpture conservator at the Hirschhorn Museum and Sculpture Garden.
The Hirschhorn Museum is the branch of the Smithsonian that houses primarily the modern contemporary collection.
So you'll find things from early 20th Century spanning all the way to last week.
We have two parts of our collection-- that that's housed indoors.
And then we also have our outdoor sculpture garden where you will find some of the most prominent artists of the 20th and 21st Century.
Contemporary artists still work with bronze and stone however, they also incorporate a lot of unusual an unconventional materials.
You'll find things like chocolate or pollen or potentially art with live insects.
There's a wide range of materials that you could find.
And they're not necessarily intended to keep use for artwork in the first place.
So our role as a conservator is to look at that and say, "How can we continue to have this artwork last into posterity even though the materials themselves have inherent issues with their longevity?"
One example of an artist working the materials that weren't necessarily intended to be incorporated into artwork and last into the centuries is Paul Thek.
He was working in the late 60s with latex in 1969 he produced this piece, "Fishman" and adhered to the surface are replicas of fish also cut out of latex.
So in the material has degraded to such a degree that we've already lost a couple of the fingers
You can see the internal material that's supporting the latex is so brittle that it's broken right off.
KATE MOOMAW: "You know I think we might need to consider about his face them rather sunken in and distorted I don't know if there's anything that we can do to sort of correct that."
It's a very delicate area. There's already a lot of tearing and repair work that needs to be done.
GWEN RYAN: "Yeah you can really see there is no flexibility in the material anymore."
Our first step so far has been to work with scientists at the Smithsonian's Museum Conservation Institute to do some analytical work on the material.
We've taken samples such and such as this cross-section Which shows how the rubber is degrading.
It has a very brittle exterior surface while on the interior you can see the original color of the material.
It's also much more flexible on the interior.
When we approach the conservation of a work that is employing really unusual or unconventional material that might have an inherently low lifespan you know, we're talking just maybe even a couple decades we have to consider the message or the intent of the artist is.
Is it really about the original material or is it about the experience of viewing the piece?
What part of the artwork is important for us to preserve?
When it comes to something like rubber or latex that only has the life span of a few decades we do have to weigh preserving it, which would mean keeping it in an isolated dark environment versus having it out on display.
Putting something on display will naturally shortens life span but if that means that people get to see it, isn't that sort of the point?
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I'm Gwen Ryan, and I'm the sculpture conservator at the Hirschhorn Museum and Sculpture Garden.발음듣기
대기중
The Hirschhorn Museum is the branch of the Smithsonian that houses primarily the modern contemporary collection.발음듣기
대기중
And then we also have our outdoor sculpture garden where you will find some of the most prominent artists of the 20th and 21st Century.발음듣기
대기중
Contemporary artists still work with bronze and stone however, they also incorporate a lot of unusual an unconventional materials.발음듣기
대기중
So our role as a conservator is to look at that and say, "How can we continue to have this artwork last into posterity even though the materials themselves have inherent issues with their longevity?"발음듣기
대기중
One example of an artist working the materials that weren't necessarily intended to be incorporated into artwork and last into the centuries is Paul Thek.발음듣기
대기중
He was working in the late 60s with latex in 1969 he produced this piece, "Fishman" and adhered to the surface are replicas of fish also cut out of latex.발음듣기
대기중
So in the material has degraded to such a degree that we've already lost a couple of the fingers발음듣기
대기중
You can see the internal material that's supporting the latex is so brittle that it's broken right off.발음듣기
대기중
KATE MOOMAW: "You know I think we might need to consider about his face them rather sunken in and distorted I don't know if there's anything that we can do to sort of correct that."발음듣기
대기중
It's a very delicate area. There's already a lot of tearing and repair work that needs to be done.발음듣기
대기중
Our first step so far has been to work with scientists at the Smithsonian's Museum Conservation Institute to do some analytical work on the material.발음듣기
대기중
We've taken samples such and such as this cross-section Which shows how the rubber is degrading.발음듣기
대기중
It has a very brittle exterior surface while on the interior you can see the original color of the material.발음듣기
대기중
When we approach the conservation of a work that is employing really unusual or unconventional material that might have an inherently low lifespan you know, we're talking just maybe even a couple decades we have to consider the message or the intent of the artist is.발음듣기
대기중
Is it really about the original material or is it about the experience of viewing the piece?발음듣기
대기중
When it comes to something like rubber or latex that only has the life span of a few decades we do have to weigh preserving it, which would mean keeping it in an isolated dark environment versus having it out on display.발음듣기
대기중
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