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DESCRIPTION:Francesca Bewer and Laurent Olivier will be coming to speak\nat
  Conservation Conversations on Tuesday\, February 11\, 2014.  Francesca\nB
 ewer will be discussing “Material Matters: Early Scientific Inquiry in\nAr
 chaeology and Art\,” and Laurent Olivier will be speaking on “Henri Hubert
 \nBetween Durkheim and Mauss: The Visual Reconstruction of Archaeological 
 Time.”\n\nConservation Conversations are public research dialogues\npairin
 g a conservator and a professor and exemplifying the goal of “Cultures of
 \nConservation\,” a five-year curricular initiative funded by the Andrew W
 . Mellon\nFoundation.  For more information\, visit http://cultures-of-con
 servation.wikis.bgc.bard.edu/.Francesca Bewer is Research Curator at the S
 traus Center for Conservation and Technical Studies\, Harvard Art Museums.
   She received her BA in Medieval and Renaissance Studies at New York Univ
 ersity\, her MPhil at the Warburg Institute\, University of London\, and h
 er PhD at the Institute of Archaeology\, University College\, London.  Pri
 or to her current position\, Bewer was Research Fellow\, Principal Researc
 her\, and Coordinator of the “Renaissance Bronze Project” at the Museum Sc
 ientific Research Laboratory of the Getty Conservation Institute\, Los Ang
 eles.  She has published extensively on the materials and techniques of Eu
 ropean Renaissance and Baroque bronze sculpture.  Her recent publications 
 include “Bronze Casting: The Art of Translation\,” in Bronze\, David Ekser
 djian\, ed.\, (London: Royal Academy of Arts\; New York: Harry N. Abrams\,
  2012)\; “A Chemist under a Spell: Rutherford John Gettens’s Early Encount
 ers with Chinese Bronzes\,” in Scientific Research on Ancient Asian Metall
 urgy: Proceedings of the Fifth Forbes Symposium at the Freer Gallery of Ar
 t\, Paul Jett\, Blythe McCarthy\, and Janet G. Douglas\, eds.\, (London: A
 rchetype Publications\, 2012)\; and A Laboratory for Art: Harvard's Fogg M
 useum and the Emergence of Conservation in America\, 1900-1950 (Cambridge:
  Harvard Art Museum\; New Haven: Yale University Press\, 2010).Key to the 
 development of Harvard University’s art museum at the beginning of the las
 t century was the idea that it should serve as a “laboratory”—a term assoc
 iated with science that connotes a locus of inquiry and experimentation.  
 Francesca Bewer's talk at the BGC will offer an overview of how scientific
  procedures and thinking were incorporated into the care and study of work
 s at the Fogg Museum\, and how that led to its becoming a crucible for art
  conservation in the US. It will examine interactions between scientists\,
  restorers\, art connoisseurs\, art historians\, museum professionals\, ar
 tists\, and students that the museum was associated with in the days when 
 the boundaries of expertise began to shift and before the necessity of a d
 ialogue between the different voices was widely accepted.Laurent Olivier i
 s Curator-in-Chief of the Celtic and Gallic\nDepartment at the National Mu
 seum of Archaeology in Saint-Germain-en-Laye\,\nFrance\, Professor of Nati
 onal Antiquities at the École du Louvre\, and Reader in\nthe History and T
 heory of Archaeology at the École Pratique des Hautes Études.\nHe received
  his PhD in Archaeology at the University of Cambridge. Olivier has\nautho
 red over two hundred scientific papers and book chapters.  His recent\npub
 lications include Nos ancêtres les Germains: les archéologues français\net
  allemands au service du nazisme (Paris: Tallandier\, 2012)\; The\nDark Ab
 yss of Time: Memory and Archaeology\, trans. Arthur Greenspan (Lanham:\nAl
 taMira Press\, 2011)\; and L'art gaulois\, co-author\, Christophe Renault
 \n(Paris: J.-P. Gisserot\, 2010).Laurent Olivier's talk focuses on Henri H
 ubert. Throughout his career at the Museum of National Antiquities in Sain
 t-Germain\, Henri Hubert devoted himself to a huge work of acquisition\, r
 anking\, and presentation of the museum’s collections\, whose volume doubl
 ed during its working life. Intensely occupied by his inventorying\, study
 ing\, and organizing\, Hubert wrote little on his method of sorting the ar
 chaeological and ethnographic collections. Drafts of plans and handwritten
  notes preserved in the archives of the museum now allow us to understand 
 how his original approach was based on the phenomena of transformations an
 d the transmissions of stylistic inheritance.RSVP is required. PLEASE NOTE
  that our Lecture Hall can only accommodate\na limited number of people\, 
 so please come early if you would like to have a\nseat in the main room. R
 egistrants who arrive late may be seated in an overflow\nviewing area.To j
 oin the discussion remotely via twitter\, either with\nquestions or commen
 ts\, please use the twitter hashtag #bgctv. During the\nseminar\, the facu
 lty convener will review this feed and ask the speakers\nquestions drawn f
 rom twitter.
DTSTART;TZID=America/New_York:20140211T180000
DTEND;TZID=America/New_York:20140211T200000
SUMMARY:Bard Graduate Center: Material Matters:
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