Contemporary Art Conservation at Smithsonian's Hirshhorn Museum

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Contemporary Art Conservation at Smithsonian's Hirschhorn Museum발음듣기

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I'm Gwen Ryan, and I'm the sculpture conservator at the Hirschhorn Museum and Sculpture Garden.발음듣기

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The Hirschhorn Museum is the branch of the Smithsonian that houses primarily the modern contemporary collection.발음듣기

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So you'll find things from early 20th Century spanning all the way to last week.발음듣기

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We have two parts of our collection-- that that's housed indoors.발음듣기

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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

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Contemporary artists still work with bronze and stone however, they also incorporate a lot of unusual an unconventional materials.발음듣기

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You'll find things like chocolate or pollen or potentially art with live insects.발음듣기

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There's a wide range of materials that you could find.발음듣기

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And they're not necessarily intended to keep use for artwork in the first place.발음듣기

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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

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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

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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

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So in the material has degraded to such a degree that we've already lost a couple of the fingers발음듣기

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You can see the internal material that's supporting the latex is so brittle that it's broken right off.발음듣기

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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

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It's a very delicate area. There's already a lot of tearing and repair work that needs to be done.발음듣기

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GWEN RYAN: "Yeah you can really see there is no flexibility in the material anymore."발음듣기

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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

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We've taken samples such and such as this cross-section Which shows how the rubber is degrading.발음듣기

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It has a very brittle exterior surface while on the interior you can see the original color of the material.발음듣기

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It's also much more flexible on the interior.발음듣기

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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

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Is it really about the original material or is it about the experience of viewing the piece?발음듣기

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What part of the artwork is important for us to preserve?발음듣기

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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

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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?발음듣기

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