Ask a Conservator Day

Below are some of the many great questions we received on Ask a Conservator Day last year, accompanied by the responses from our conservators. Read more to gain insights into the hidden world of art conservation and deepen your appreciation for the dedicated professionals safeguarding artistic heritage here at the DAM.

What are the most challenging types of art to conserve? And why?

"We all focus on different specialties (though we collaborate often). Some of the biggest challenges with textiles are dealing with previous repair efforts that fail/cause damage over time. That's why we select our treatments carefully, testing materials and techniques before using them on artwork, and write thorough reports that will help future collection caretakers." - Allison McClosky, Senior Textiles Conservator

"As a modern and contemporary art conservator, I would nominate inpainting of damages to smooth monochrome painted surfaces as one of the most challenging tasks. The color match and texture of the inpainting has to be absolutely perfect for the repair to blend at all." - Kate Moomaw-Taylor, Senior Conservator of Modern and Contemporary Art

What is one of your favorite DAM conservation stories?

"I've had the chance twice to work with artist Deborah Butterfield on her signature bronze horses “Lucky,” “Willy,” and “Argus,” currently installed in the Kemper Courtyard. I'll never forget the moment when she confidently wiped away layers of accumulated protective wax from the surface of “Argus” to reveal the perfectly preserved original patina beneath—a revelation!" - Kate Moomaw-Taylor, Senior Conservator of Modern and Contemporary Art

"Working with artists is always a major highlight. When fashion designer Carla Fernandez was onsite to install Carla Fernandez Casa de Moda: A Mexican Fashion Manifesto, I learned so much about her process and inspiration in conversation as we dressed and styled the looks. – Allison McCloskey, Senior Textiles Conservator

What are some of the most unique objects in the collection?

One of the most unique objects in the collection is the Tillett tapiz, a 106-foot-long embroidered canvas that illustrates the Spanish conquest of Mexico, made in the 1970s, with images inspired by historic codices. – Allison McCloskey, Senior Textiles Conservator (it will be on view in Ink & Thread, which opens November 17)

What is the most challenging material you have ever had to work with?

"Works by Rachel Lachowicz, One Month Late (1992) and Untitled (Lipstick Urinals) (1992), which are sculptures coated in a thick layer of lipstick. They require regular cleaning to remove dust and droplets of oil that occasionally seep out of the material, but they remain in excellent condition. We also employ careful handling and customized storage enclosures to promote their preservation." – Kate Moomaw-Taylor, Senior Conservator of Modern and Contemporary Art

How long does a project usually take and what can affect the project?

"A project can take anywhere from a couple to several hours depending on what the project end goal is. If it is strictly research, we have much more time to contribute, however if it is for an exhibition there is a timeline that is much shorter. Sometimes when evaluating the condition of an artwork not all the issues (cracks, material degradation etc.) will be visible until treatment begins and so a range of time is allotted for each project to allow for these. Also, if a project is part of the overall collection (preservation or storage plan) rather than a treatment for a specific artwork a longer timeline is involved. Also, to sit doing just treatment for several hours a day is brutal on the eyes and body so that is another reason a treatment may be done over a longer period of time...slowly chipping away with a good amount of breaks." – Elisse Brautigam, Graduate Conservation Intern

"Projects can also take months or years if the piece is especially large, the damage is severe, or if the best treatment approach requires research, experimentation, or expert/specialist review." - Aaron Burgess, Objects Conservator

What is the most rewarding part of your job?

"The most rewarding part of time-based media is that it is a newer field that has a very pressing need for conservation, as the materials surrounding it are frequently becoming obsolete as the technology is constantly updated and thus a significant aspect of the artwork can be lost easily. So, I always have a feeling of my work being impactful in some small way either for the artist or viewer in the future." – Elisse Brautigam, Graduate Conservation Intern

"Knowing that the work we do will make these artworks available and accessible to future generations." - Sarah Melching, Silber Director of Conservation

"Working with super talented colleagues to execute some spectacular exhibitions on a pretty ambitious schedule (and being able to touch the textiles)." - Allison McCloskey, Senior Textiles Conservator

"Being a part of a team with amazing colleagues, in and out of our department, to achieve collections-care goals and to deliver meaningful experiences with art to our visitors." - Kate Moomaw-Taylor, Senior Conservator of Modern and Contemporary Art

"Working with interns and fellows, teaching them a few useful techniques and helping them navigate the profession. This often becomes reciprocal as they grow in confidence and share with us a few tricks of their own." - Aaron Burgess, Objects Conservator

What really excites you about your work? What is your favorite part of your day?

"What excites me most about my work is the opportunity to work closely with the artworks and study them in depth in order to provide the best care possible. Connecting with artists to learn about the works in my care is another major highlight. It's hard to pin down what my favorite part of my day is, as every day is really different - though having the galleries to myself for a few minutes in the morning as I walk through the museum to the conservation lab isn't bad." - Kate Moomaw-Taylor, Senior Conservator of Modern and Contemporary Art

Is there any time you decide against preserving, though the artwork is deteriorating? When and why?

"Every now and then an artist/craftsperson will create a work that is intended to degrade over time. If this is the artist’s intent, then we must honor that. There are a few other scenarios where treating a piece would be unethical, but these tend to happen more often outside of a museum context. Sometimes a piece is so degraded that attempting to treat it might cause either its complete disintegration or might involve too much interpretation on the part of the conservator.

"A hypothetical example might include a highly corroded ancient coin from an archaeological dig. If not enough of the metal form is salvageable then documentation (Imaging and X-rays) might be preferable to treatment. Another example might be unearthed fragments of a pot or vase where there are not enough pieces to determine the exact nature of the original vessel. Any attempt to reassemble the piece may result in an inaccurate representation of the object." - Aaron Burgess, Objects Conservator

What is the daily life of a conservator like?

"Some of our tasks can be tedious and repetitive, but it’s rare that two days are ever the same. We change up our activities to minimize any over-use injuries. Vacuuming with our variable-speed HEPA-filter vacuums and different attachments, or conservation stitch repairs over a large textile, can go on for many hours, but we intersperse that with workflow planning, display or storage support design, and report writing and photography to fully document our treatments." - Allison McCloskey, Senior Textiles Conservator

How does a conservator assess a piece and determine the work that needs to be done?

"To assess an artwork, conservators have a number of tools at their disposal. We generally start with a visual exam, which typically involves good lighting and often magnification via an Optivisor or microscope. Assessment of structural stability may also include some gentle manipulation of the object. Tools like ultraviolet- induced fluorescence, infrared reflectography, and x-radiography may reveal issues not visible to the naked eye. Finally, scientific analysis is sometimes used to help us understand deterioration.

"Determining a treatment plan also involves collaborative decision-making with our curatorial colleagues and sometimes originating communities, living artists, or other outside experts.

"There are a multitude of techniques that are used in the conservation treatment of artworks with new ones constantly in development. The treatment technique is customized to the artwork and the issue at hand and informed by a scientific understanding of materials and their aging properties. Major types of treatments include surface cleaning, structural stabilization, reassembly, loss compensation, and application of protective coatings among others." - Kate Moomaw-Taylor, Senior Conservator of Modern and Contemporary Art

Conservation is a fascinating blend of art and science and is the key to ensuring the longevity of all artworks. We are so grateful for the incredible work and dedication our conservation team has done for the DAM. You can make a difference and help us to preserve artworks for current and future generations by making a donation of any size.