AN AMAZING VIDEO ABOUT ART CONSERVATION, the career that I chose in the 1980s for the reasons shown and explained in the video (never have I regretted that choice).
It illustrates why conservators can be valuable resources in studies of age, attribution, and authenticity, because they spend years studying the chemistry, degradation, and preservation of cultural property - and - years looking very closely at objects.
But - and this is important - do not expect most conservators to say whether an object is authentic or inauthentic, misattributed or correctly attributed, old or period, because codes of ethics and guidelines for practice for conservators require a sound basis for such opinions (not mere speculation), and offering such opinions can open them to liability.
Rather, listen closely for what conservators say or don’t say about authenticity, attribution, and age; for example, “wouldn’t it be interesting to have this object examined in a laboratory” or “You might ask [so and so] to look at this.”
That might be what they are able to say, that you should hear.
Hope this helps.
So much work goes into an exhibition before we open our doors.
For months, our conservators, curators, and beyond have been busy preparing works for our big fall exhibition “Georgia O’Keeffe and Henry Moore," which features more than 150 works and recreations of each artist's studio. Organized by The San Diego Museum of Art, the exhibition is an unprecedented collaboration with the Georgia O'Keeffe Museum and the Henry Moore Foundation.
🗓️ Member preview begins October 9 before the exhibition opens to the public on October 13—reserve your timed-entry tickets now! http://ms.spr.ly/6044mtYAy
