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Art and Design Commons

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Art and Materials Conservation

Selected Works

Conservation

Articles 1 - 6 of 6

Full-Text Articles in Art and Design

Conservation Workshops In Djenné, Mali, 2015 And 2017, Michaelle L. Biddle Dec 2016

Conservation Workshops In Djenné, Mali, 2015 And 2017, Michaelle L. Biddle

Michaelle Biddle

A report on two conservation workshops Michaelle Biddle conducted in Djenne, Mali. The workshop in 2015 was about making lightweight all-in-one conservation boxes. The one in 2017 was a course on how to separate stuck manuscript pages using various humidification techniques. A syllabus for the latter workshop is included.


La Conservation Des Manuscrits De L’Afrique Sub-Saharienne.Pdf, Michaelle L. Biddle Dec 2015

La Conservation Des Manuscrits De L’Afrique Sub-Saharienne.Pdf, Michaelle L. Biddle

Michaelle Biddle

Traduction "Conservation of sub-Saharan African Manuscripts", The Annual Review of Islam in Africa 2013-2014, 12/2, 61-68


Pragmatism And Compromise In Conservation, Peter D. Verheyen Mar 2012

Pragmatism And Compromise In Conservation, Peter D. Verheyen

Peter D Verheyen

I write this from the perspective of an apprentice-trained bookbinder and conservator who has spent most of his career working in academic research libraries in the US, work that has included working primarily with special collections, but also heavily used circulating collections and digitization. During this time I have also worked with many other conservators, interns from conservation/preservation programs and students of museum studies and librarianship. While the mission ensuring the long-term health of and continued access to the Library’s collections has not changed, how we do that work and prioritize activities has. This has been a result of changes …


Bookbinding & Conservation: A Sixty-Year Odyssey Of Art And Craft By Don Etherington, Peter D. Verheyen Jan 2010

Bookbinding & Conservation: A Sixty-Year Odyssey Of Art And Craft By Don Etherington, Peter D. Verheyen

Peter D Verheyen

For those involved with bookbinding, book conservation, or with the Guild of Book Workers, Don Etherington needs no introduction – he has served as a teacher, mentor, and friend. Now, with Bookbinding & Conservation: A Sixty-year Odyssey of Art and Craft we can read about how he came to enter this field, was influenced by his teachers and mentors, and how he helped shape the world of bookbinding and conservation.

"Bookbinding & Conservation: A Sixty-year Odyssey of Art and Craft" contains a forward by Bernard Middleton, another leader in the field, and one who needs little introduction himself. It is …


The Changing Book: Transitions In Design, Production, And Preservation, Peter D. Verheyen Dec 2008

The Changing Book: Transitions In Design, Production, And Preservation, Peter D. Verheyen

Peter D Verheyen

This book review was originally published in the Guild of Book Workers' Newsletter, Vol 181, December, 2008.

"The Changing Book: Transitions in Design Production, and Preservation publishes the proceedings of the conference of the same name organized by and held at the University of Iowa July 22-25,2005. This conference tied together many threads, from an exhibition honoring the life's work of William (Bill) Anthony, the first conservator at the University of Iowa and teacher to some of today's best, to a "tent show" which gave the public the opportunity to learn about the book arts hands-on, to 19 formal presentations …


Temporality, Impermanence And The Museum The Ethics Of Conservation And The Works Of Anselm Kiefer, Virginia A. Dressler May 2003

Temporality, Impermanence And The Museum The Ethics Of Conservation And The Works Of Anselm Kiefer, Virginia A. Dressler

Virginia A Dressler

Using some of the concepts from Heidegger's 'The origin of a work of art'
as a foundation, I will argue that every work is a unique and original entity, not
capable of being simulated or repeated by artificial means. A work is bound by the
temporal nature of its own material, as in all forms of matter. The product of
restoration work is ultimately a copy of the original, destroying a work's original
essence of time, material and space. Museums often present works as absolutes
within seemingly timeless walls of illusion. An environment of immortality is often
conveyed, where age …