Dimensions: 246 x 175 mm
Illustrations: 47 colour, 12 half-tones
As artists have increasingly utilised modern materials and techniques, it has presented the conservator with a host of new and complex problems that need to be addressed. As such, this is a subject of great interest to conservators, many of whom had expressed an interest in an event that could supplement their existing knowledge in this field. In response to this, the Institute of Conservation’s Paintings Group decided that this would be an appropriate theme for a conference that could provide a platform for contributors to disseminate their research on a number of topics relating to the conservation of contemporary art works. In addition, a call was put out for contributors who might be developing new and innovative techniques and materials to address conservation problems, or who might be utilising well-known materials that are already in the conservator’s toolkit in a new capacity.
The papers in this volume were presented at the Paintings Group’s conference Modern Conservation: What’s New? held at The Wallace Collection in London in October 2014. It covered a variety of topics including: consolidants and flake laying; the possible use of sports injury tape as a temporary means of support during structural conservation treatments; rigid inserts to stretchers to reduce vibrations; auxiliary supports for modern paintings; the problem of softening and weeping paints in modern works of art and methods of treatment; wet surface cleaning treatments for contemporary paintings; and ethical considerations when dealing with conceptual artists’ wishes.
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"Not only does this publication highlight the innovative practice of conservators working today, it also provides practical information making it a very useful reference book"
The Picture Restorer - Spring 2016
"Es de destacar la voluntad de celeridad en su publicación que, según los editores, ha estado motivada por la necesidad de la inmediatez y renovación constante en el contexto de la conservación-restauración, lo que sería deseable en otras muchas publicaciones de nuestro ámbito. También es conveniente señalar que se trata de una referencia bibliográfica con un amplio enfoque, hecho que se evidencia en la heterogénea procedencia de los autores, entre los que se incluyen restauradores de la Tate Gallery, National Portrait Gallery, Getty Conservation Institute, así como conservadores-restauradores de museos daneses, noruegos, holandeses, polacos y coreanos, técnicos de la industria y restauradores de la empresa privada."
Ge-conservación - December 2015 click here for the full review.