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DTSTAMP:20260421T112324Z
DESCRIPTION:This event is part of “Conserving Active Matter: A Cultures\nof
  Conservation Research Project\,” a collaboration between Bard Graduate\nC
 enter\, the Humboldt University (Berlin)\, and the Rijksmuseum (Amsterdam)
 \, generously supported by The Andrew W. Mellon Foundation. This\ninitiati
 ve aims to bring new developments in materials science and new ways of\nth
 inking about matter to create new ways of thinking about the future of\nco
 nservation. The project is articulated through semester-themed exploration
 s\nalong four axes: Indigenous ontologies (spring 2018)\, history (fall 20
 18)\,\nmaterials science (spring 2019)\, and philosophy (fall 2019).\n\nWh
 en one examines a painted surface\, whether a New Kingdom\nEgyptian sarcop
 hagus or a John Singer Sargent portrait\, it appears as though\nthe paint 
 is dry\, and is therefore no longer interacting with itself or its\nenviro
 nment. Nothing could be further from the truth. Paint is constantly active
 \,\nresponding to its surroundings and reacting with (for example) the wat
 er\,\nlight\, and oxygen in its local environment. This can result in fadi
 ng\, darkening\,\nor any number of other visual and physical phenomena inc
 luding chalking and\nspalling. Other works of cultural heritage are simila
 rly restive\, from medieval\nstained glasses to modern and contemporary wo
 rks prepared from a diversity of alloys\nand plastics.  Objects that appea
 r stable\n(such as a bronze with a green patina) can be rapidly reduced to
  dust in the\nwrong environment. More than one type of museum object (such
  as ancient Egyptian\nfaience and cellulose nitrate film) have been known 
 to degrade via explosion\,\nand in the latter example to also “infect” the
 ir neighboring objects through\nthe production of volatile corrosive gases
 . While one can easily identify a “dirty\ndozen” of artists’ pigments that
  are among the most active (such as Vincent Van\nGogh’s infamous geranium 
 lake red)\, the constant innovations of artists\, chemists\,\nand material
 s scientists means that there is a ready supply of challenging new\nobject
 s and systems for art conservators and cultural heritage scientists to\nst
 udy and preserve. The input of art historians\, historians\, anthropologis
 ts\, and\narchaeologists in this type of object-oriented study is critical
  to understanding\nthe interpretation challenges represented by these alte
 red works. Join us for\ntwo days of discussion about object change\, from 
 the molecular to the\ncatastrophic to the magnificent\, and learn about th
 e surprising afterlives of\nworks of art that are made from continuously e
 volving materials.March 28Peter N. MillerBard Graduate CenterWelcomeJennif
 er L. MassBard Graduate CenterIntroductionMetamorphosis and the ModernJame
 s CoddingtonInstitute of Fine Arts\, New York UniversityJessica WalthewCoo
 per Hewitt Smithsonian Design MuseumMargo DelidowWhryta Contemporary Art C
 onservation\; Whitney Museum of American ArtClara Rojas SebestaWhitney Mus
 eum of American ArtChris McGlincheyThe Museum of Modern ArtUndead Objects:
  Preservation of the Source CodeMarc Sebastian WaltonNorthwestern Universi
 tyDeena EngelNew York UniversityCatherine S. MallinckrodtVirginia Museum o
 f Fine ArtsAshley DuhrkoopVirginia Museum of Fine ArtsPepe KarmelNew York 
 UniversityJames CoddingtonInstitute of Fine Arts\, New York UniversityMarc
 h 29Jennifer L. MassBard Graduate CenterWelcome and IntroductionThe Death 
 of a Painting: Metal Soaps and Molecular Self AssemblyFrancesca CasadioThe
  Art Institute of Chicago Barbara BerrieNational Gallery of ArtSilvia Cent
 enoThe Metropolitan Museum of ArtPetria NobleRijksmuseumThe Afterlife: Mat
 erials Research and Reanimating ObjectsMatthew CollinsNatural History Muse
 um of DenmarkGlenn GatesThe Walters Art MuseumTim WessUniversity of the Su
 nshine Coast Marco LeonaThe Metropolitan Museum of ArtPanel DiscussionThis
  event is part of our Cultures of Conservation initiative\, supported by T
 he Andrew W. Mellon Foundation.
DTSTART;TZID=America/New_York:20190328T000000
DTEND;TZID=America/New_York:20190328T235900
SUMMARY:Bard Graduate Center: Symposium—Conserving Active Matter: Materials
  Science
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