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5/3/19, 10)32 AMSymposium—Conserving Active Matter: Materials Science - Bard Graduate Center
Page 1 of 6https://www.bgc.bard.edu/events/928/28-mar-2019-symposium-conserving
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Symposium—ConservingActiveMatter:MaterialsScienceFunded by TheAndrew W.MellonFoundation
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March 28–29, 20199:00 am – 4:45 pm
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38 West 86thStreet, Lecture Hall
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This event is part of “ConservingActive Matter: A Cultures ofConservation Research Project,” acollaboration between BardGraduate Center, the HumboldtUniversity (Berlin), and theRijksmuseum (Amsterdam),generously supported by TheAndrew W. Mellon Foundation. Thisinitiative aims to bring newdevelopments in materials scienceand new ways of thinking aboutmatter to create new ways ofthinking about the future ofconservation. The project isarticulated through semester-themed explorations along four axes:Indigenous ontologies (spring2018), history (fall 2018), materialsscience (spring 2019), andphilosophy (fall 2019).
When one examines a paintedsurface, whether a New KingdomEgyptian sarcophagus or a John
5/3/19, 10)32 AMSymposium—Conserving Active Matter: Materials Science - Bard Graduate Center
Page 2 of 6https://www.bgc.bard.edu/events/928/28-mar-2019-symposium-conserving
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events, such as lectures, seminars,and symposia, are curated by facultymembers and make BGC a majorvenue for advanced discussion of thecultural history of the materialworld. This same interest in rigorousinvestigation is brought to theexpanded public programming,which aims to enrich understandingof the material world throughconversations, literary events, artistresidencies, and performance.
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The NewTypographyNow:Design…PublicPrograms May 8,
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Singer Sargent portrait, it appears asthough the paint is dry, and istherefore no longer interacting withitself or its environment. Nothingcould be further from the truth.Paint is constantly active,responding to its surroundings andreacting with (for example) thewater, light, and oxygen in its localenvironment. This can result infading, darkening, or any number ofother visual and physicalphenomena including chalking andspalling. Other works of culturalheritage are similarly restive, frommedieval stained glasses to modernand contemporary works preparedfrom a diversity of alloys andplastics. Objects that appear stable(such as a bronze with a greenpatina) can be rapidly reduced todust in the wrong environment.More than one type of museumobject (such as ancient Egyptianfaience and cellulose nitrate film)have been known to degrade viaexplosion, and in the latter exampleto also “infect” their neighboringobjects through the production ofvolatile corrosive gases. While onecan easily identify a “dirty dozen” ofartists’ pigments that are among the
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5/3/19, 10)32 AMSymposium—Conserving Active Matter: Materials Science - Bard Graduate Center
Page 3 of 6https://www.bgc.bard.edu/events/928/28-mar-2019-symposium-conserving
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most active (such as Vincent VanGogh’s infamous geranium lake red),the constant innovations of artists,chemists, and materials scientistsmeans that there is a ready supply ofchallenging new objects and systemsfor art conservators and culturalheritage scientists to study andpreserve. The input of art historians,historians, anthropologists, andarchaeologists in this type of object-oriented study is critical tounderstanding the interpretationchallenges represented by thesealtered works. Join us for two days ofdiscussion about object change,from the molecular to thecatastrophic to the magnificent, andlearn about the surprising afterlivesof works of art that are made fromcontinuously evolving materials.
Thursday, March 28
9–9:15 amWelcome and IntroductionPeter N. Miller, Bard GraduateCenterJennifer L. Mass, Bard GraduateCenter
9:15 am–12:30 pm
5/3/19, 10)32 AMSymposium—Conserving Active Matter: Materials Science - Bard Graduate Center
Page 4 of 6https://www.bgc.bard.edu/events/928/28-mar-2019-symposium-conserving
Metamorphosis and the ModernJames Coddington, Institute of FineArts, New York UniversityJessica Walthew, Cooper HewittSmithsonian Design MuseumMargo Delidow, WhrytaContemporary Art Conservation;Whitney Museum of American ArtClara Rojas Sebesta, WhitneyMuseum of American ArtChris McGlinchey, The Museum ofModern Art
12:30–1:30 pmLunch Break
1:30–4:45 pmUndead Objects: Preservation of theSource CodeMarc Sebastian Walton,Northwestern UniversityDeena Engel, New York UniversityCatherine S. Mallinckrodt, VirginiaMuseum of Fine ArtsAshley Duhrkoop, Virginia Museumof Fine ArtsPepe Karmel, New York UniversityJames Coddington, Institute of FineArts, New York University
Friday, March 29
5/3/19, 10)32 AMSymposium—Conserving Active Matter: Materials Science - Bard Graduate Center
Page 5 of 6https://www.bgc.bard.edu/events/928/28-mar-2019-symposium-conserving
MA/PhD
9–9:15 amWelcome and IntroductionJennifer L. Mass, Bard GraduateCenter
9:15 am–12:30 pmThe Death of a Painting: Metal Soapsand Molecular Self AssemblyFrancesca Casadio, The Art Instituteof Chicago Barbara Berrie, National Gallery ofArtSilvia Centeno, The MetropolitanMuseum of ArtPetria Noble, Rijksmuseum
12:30–1:30 pmLunch Break
1:30–4:45 pmThe Afterlife: Materials Research andReanimating ObjectsMatthew Collins, Natural HistoryMuseum of DenmarkGlenn Gates, The Walters ArtMuseumTim Wess, University of theSunshine Coast Marco Leona, The MetropolitanMuseum of Art
This event is part of our Cultures of
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Cultures of
Cultures of
5/3/19, 10)32 AMSymposium—Conserving Active Matter: Materials Science - Bard Graduate Center
Page 6 of 6https://www.bgc.bard.edu/events/928/28-mar-2019-symposium-conserving
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