In June 2008, the Getty Conservation Institute (GCI) organized a meeting ofinternational experts to discuss the significant and often highly complex issues faced byprofessionals in the conservation of modern and contemporary art. The meeting,entitled Conservation Issues of Modern and Contemporary Art (CIMCA), was hosted bythe Museum of Modern Art in New York, and supported by Agnes Gund and DanielShapiro. Attended by twenty-six invited participants from Europe and the Americas,the group included conservators from a number of key institutions and in privatepractice, as well as scientists, collection managers, and those involved in conservationtraining programs and professional networks for contemporary art. (A full list ofattendees is provided at the end of this document.)
Aging of Modern Materials Establish more complete data on the aging of coatings, adhesives, and consolidants. Develop methods to monitor surface changes. Improve non-destructive means to assess the structural stability of materials. Develop methods to stabilize cellulose acetate (CA) and cellulose nitrate (CN) plastics. Study further the aging processes involved in modern oils to better understand water-sensitive oils, liquefying oil paints, and efflorescence.
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Preventive Conservation Compare current state of thinking and practice regarding climate guidelines, control, and management in different museums and collections, either by a survey or with a meeting to compare/contrast the various approaches and policies. Gather data on the behavior of different materials to different environmental conditions in order to develop knowledge (and ultimately guidelines) for optimum storage or display conditions for these materials/objects. Assess the implications for storage of objects in crates: design of crates, interaction of materials, off-gassing, etc. Assess the implications of climate change and sustainability issues, which are set to impact heavily all areas of cultural heritage conservation in the near future.
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Assess the increase in longevity of face-mounted photographs in cold storage. Establish guidelines (for packers and artists) for the display and transportation of modern and contemporary works of art (especially the effects of vibration on 3D objects), and design better wrapping methods for unvarnished paintings. 6 Research into Conservation Treatments and Materials Make stronger connections with industrial partners (e.g., Rohm & Haas) to tap into their knowledge and expertise on resins and coatings. Increase involvement of conservators in evaluating the success of treatments from a more practical and empirical standpoint. Establish, whenever possible, practical research efforts that test multiple treatment approaches.
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New Instruments/Methodologies Develop methods for improved, scientific documentation of changeespecially portable, non-invasive, low cost, and yet still high-tech instruments. It was stressed that for all such development, it would be important to concentrate on changes that are significant (e.g., weak links or irreplaceable components). Some specific ideas included: better methods for characterization of surfaces (texture, gloss, transparency) to assess the effects of aging and treatments; development of non-invasive deterioration indicators (e.g., peroxide formation); development of improved methods of characterizing/describing patinas on bronzes; assessment of new methods (e.g., mechanical techniques, laser techniques) for cleaning non-varnished surfaces, especially on monochrome paintings.
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