TRAINING NEEDS FOR THE CONSERVATION OF MODERN AND CONTEMPORARY ART TRAINING NEEDS FOR THE CONSERVATION OF MODERN AND CONTEMPORARY ART ICOM-CC Working Groups for ‗Education & Training‘ & ‗Modern Materials and Contemporary Art‘ E-Newsletter – March 2010 This E Newsletter is a special joint edition by the ICOM-CC Working Groups (WGs) for Education & Training and for Modern Materials and Contemporary Art that focuses on the current provision of education and training in the conservation of contemporary art. This will be followed by a joint two-day Interim meeting of the two ICOM-CC working groups on Saturday 12th and Sunday 13th June at the Bonnefanten Museum, Avenue Céramique 250, Maastricht (adjacent to the Stichting Restauratie Atelier Limburg) The aim of the joint meeting is to consider and discuss how the existing conservation training programs are responding to the range of new knowledge and skills that are frequently required for the conservation of modern and contemporary works of art. It will build on the two-hour panel discussion “Rethinking education in contemporary art conservation” that will be held at the Contemporary Art: Who Cares? symposium (Amsterdam, Wednesday 9th – Friday 11th June), although participation in that session will not be a necessity for the Interim meeting. For the purpose of the meeting, we are defining “modern and contemporary art” very loosely, from traditional art forms - such as paintings and works on paper - to conceptual and installation art; and with an approximate “cut-off date” of 1910, i.e. art from the last 100 years. The essential questions to be tackled will be: what steps are training programs already taking to incorporate modern / contemporary art? What other steps are planned? And what steps are still required by the profession? To register, please contact René Hoppenbrouwers ([email protected]) Education & Training WG Co-Coordinator – Jean Brown ([email protected])

Modern Materials and Contemporary Art WG Co-Coordinator – Tom Learner ([email protected])

AMSTERDAM & MAASTRICHT - UNIVERSITY OF AMSTERDAM (UVA) & THE STICHTING RESTAURATIE ATELIER LIMBURG (SRAL) Information on the MA in Conservation and Restoration of Cultural Heritage: Modern and Contemporary Art is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

AMSTERDAM & MAASTRICHT OVERVIEW - MA in Conservation and Restoration of Cultural Heritage: Modern and Contemporary Art Training programme Conservation of Contemporary Art in The Netherlands

University of Amsterdam, Amsterdam in collaboration with Stichting Restauratie Atelier Limburg, Maastricht, The Netherlands

Background At the 1997 symposium ―Modern Art: Who Cares?‖ in Amsterdam, Anne van Grevenstein, then director of the Limburg Conservation Institute / Stichting Restauratie Atelier Limburg (SRAL) presented her plans for a full time conservation training programme especially dedicated to modern and contemporary art. In the following years SRAL developed a five-year full time postgraduate course, which was running parallel to the existing programmes for conservation of Easel Paintings and Polychrome Sculpture as well as for Historic Interiors. The new specialization started

in 1998 as the first training programme fully devoted to modern and contemporary art in the world. Students could enter the course upon selection after finishing a full MA degree in Art History. The five-year post-graduate training programme existed of a three-year period in the studio in Maastricht and two years of internships in Dutch museums. The last students who followed this route, received their diploma‘s in 2009.

Change SRAL and the Netherlands Institute of Cultural Heritage / Instituut Collectie Nederland (ICN) joined their training programmes embedded in the BA-MA structure in the University of Amsterdam (UvA) in 2006. The UvA provides a 7-year program, existing of a 3 year BA in Art History or Chemistry including a six-month minor in Conservation and Restoration, followed by 4 years fully committed to conservation and restoration. These four years are dedicated to one of the 8 conservation disciplines, one of them being fully dedicated to Contemporary Art. The complete training of seven years is necessary to become a fully recognized practicing conservator. The BA-MA phase of the training programme takes place in Amsterdam. Studio practice of the two-year master phase is located in the newly established conservation studios in the Ateliergebouw in Amsterdam, a building shared with the Conservation Department of the Rijksmuseum and the Science and Research Departments of ICN. The post-graduate phase consists of another year of studio practice and theoretical training at SRAL in Maastricht followed by a year of internship placements within Conservation Departments of Dutch museums. Only after successful completion of the Master course in Amsterdam their training in conservation is continued in Maastricht. The post-graduate students will work full time in a studio practice. They learn to make estimates, suggest, argument and defend treatment proposals, consider the pros and the cons before colleagues and professionals. They develop their self-confidence in knowing what they are capable of as a conservator and when they have to consult experts or hire in expertise. They are encouraged to focus on their own special interests, be it in installation art, largescale sculptures or research into a specific material. In the post graduate years many treatments and participation in larger treatment projects take place, already in a nine to five working schedule, to ensure the development of social and teambuilding skills. Some projects are undertaken on an individual basis, others take place within a team environment. Specialists are brought in not only to give workshops relating to specific issues but also for treatment if necessary.

Contemporary Art Conservation The students specialize on entry to the Masters. Students in Contemporary Art Conservation follow workshops and lectures in various disciplines and in specialized contemporary art issues. They learn about paint layers, metals and outdoor sculpture, plastics and composite materials, paper, photographs, textile, wood, but also about mechanical- and computer based art works as well as installations with video, film and performance aspects. They develop skills to treat artworks composed

out of many materials and structures and will learn what specialist to turn to with specific questions. The students learn to work on real art works from museum collections in the conservation studio from beginning to the end. They learn to document and do object related research in order to follow a decision-making process and perform suitable conservation treatment in practice. A central aspect within the training course is to both learn from existing practice in conservation of traditional art and partly participate in more general treatments or workshops regarding the painted surface, cleaning and consolidation techniques and learn about newly developed methods and new treatments from published casestudies and presented in conferences. New techniques in for instance conservation of PUR-foam or glass fibre reinforced polyester resin are simulated in mock–ups to study treatment options to test suitable treatment options for the real artworks. The students are furthermore trained to have a good understanding of conservation theory and the ‗decision making model‘ as well as the artist interview, an important aspect in the practice of the contemporary art conservator. The students are trained in interviewing techniques and will be conducting artist interviews as part of the training programme and when required as part of the research of their case studies. The type of contemporary art covered in the program is varied, ranging from sculpture to kinetic art, pop art or works with plastics up to installation art. Artworks are brought in the training conservation studio for treatment under the guidance of practising conservators. Sometimes students will join a conservator working on location, for instance with outdoor sculpture or installation art. Students are also seconded to projects in affiliated Dutch Museums, such as the Bonnefantenmuseum, Glass Palace, Stedelijk Museum Amsterdam, Kröller-Müller Museum and De Pont. Students may participate in working groups of the Foundation for the Conservation of Contemporary Art / Stichting Behoud Moderne Kunst (SMBK) on decision-making and ethics where they learn from and participate in the discussion with conservators and curators to consider the gain and loss achieved by conservation treatments. The meetings can take place in the museum in presence of the actual artwork. Students could also partake in (inter-) national research projects as part of their master thesis. They will become members of the International Network for the Conservation of Contemporary Art (INCCA) and learn to disseminate knowledge in a network environment early on to understand how to get access to the expertise and knowledge in persons and institutions next to that in books and literature. The UvA and SRAL conservation studios provide an ongoing interaction with artworks during treatment in various settings. This is concluded with a one-year internship phase, which takes place in one or two Dutch museum conservation studios, where students participate in the actual daily museum practice. Museums are selected that have a contemporary art collection and an existing conservation studio with practicing contemporary art conservators. The students are encouraged to participate and engage in the daily routine of the museum practice and conservation matters. Students will partake in staff meetings, courier trips, condition surveys, gallery inspections and undertake a number of conservation treatments. The year culminates in a larger treatment project with related conservation research aspects, which the students are required to submit for their final diploma thesis.

University of Amsterdam

Contemporary Art Conservation Sanneke Stigter, Coordinator and Lecturer of the MA training programme Contemporary Art Conservation at the University of Amsterdam General information on the training programmes in Conservation of Cultural Heritage University of Amsterdam Suzanne Maarschalkerweerd-Dechamps, Coordinator of Conservation and Restoration of Cultural Heritage Oude Turfmarkt 145 NL-1012 CG Amsterdam The Netherlands Tel. +31 20 525 2033 Email: [email protected] URL: http://www.hum.uva.nl/conservering/home.cfm Stichting Restauratie Atelier Limburg Contemporary Art Conservation Lydia Beerkens, Conservator of Modern Art, and Lecturer at SRAL General information on the post-graduate training programmes in conservation of Paintings, Historic Interiors and Contemporary Art Stichting Restauratie Atelier Limburg Kate Seymour, Head of Training department P.O. Box 1679 NL-6201 BR Maastricht The Netherlands Tel. +31 43 3218444 Fax +31 43 3257568 E-mail: [email protected] Email: [email protected]

AMSTERDAM & MAASTRICHT TEMPLATE - MA in Conservation and Restoration of Cultural Heritage: Modern and Contemporary Art CONSERVATION EDUCATION & TRAINING PROGRAM PROFILE PROGRAM DETAILS: Program name

Level

Conservation and Restoration of Cultural Heritage: Modern and Contemporary Art MA

Country

Netherlands

Duration

7 years in total (Masters and additional PI)

Format

Full time

Campus/Distance learning

Training is situated in a conservation studio setting

Language used in teaching

Thorough knowledge of Dutch and English language required

Application pre-requisites

- An academic bachelors or masters degree in humanities or natural sciences (i.e. art history or chemistry) - successfully completed the minor in Conservation and Restoration at the University of Amsterdam or equivalent (i.e. a full BA in a conservation program abroad, to be approved of by a jury) - knowledge of chemistry at the highest level of secondary education, such as the Dutch VWO-graduate or equivalent, to be approved of by a jury.

Application procedures

Applicants are invited to partake in an assessment. This involves submitting a portfolio, tests in manual skills and visual capabilities and an interview.

Interview procedures

On the basis of the results of the tests and the interview a jury will decide which applicants will be admitted to the master programme.

Number of students accepted

4

PROGRAM CONTENT: Course content

Modern and Contemporary Art is a full specialization as part of the programme. As part of the 7-year programme 4 years could be dedicated to conservation of Modern and Contemporary Art. Theory and studio practice are combined in a wide range of workshops on specific conservation techniques and the use of special artist materials - from paint systems to metals, from plastics to time based arts. The core of the program is centered around real artworks from museum collections in the conservation studio or on site. The student will perform extensive research on the case study in order to understand the material structure, history, context and the concept of the artwork thoroughly before careful decision-making on possible conservation treatment options can be assessed. The documentation, the research, the dialogues with the different stakeholders, the decision-making as well as the actual conservation treatment itself will be carried out by a the student under the guidance of professional conservators. When dealing with contemporary art an artist interview is often necessary as part of the research and in preparation of the decision making. Therefore a training and an actual artist interview are part of the curriculum. Furthermore new conservation strategies are addressed in order manage the conservation and re-installation of contemporary artworks that have a more performative character, incorporating change and interaction as inherent parts of the artwork. Think of time based media artworks, installation art, artworks made with ephemeral materials like photographs and video, or composed of immaterial matter such as smoke, warmth, sound or light. The training programme runs parallel to classes of the other conservation disciplines and often cross links are made, especially with the program in paintings conservation. Specific subjects will be incorporated in the program when these can be linked to (inter)national research projects, so that the students are stimulated to take part in the professional discourse in the field. Likewise participation in conferences and working groups on specific topics in contemporary art conservation is therefore highly valued.

Structure

The program is organized on a modular structure and each year is divided into two semesters. Students study two 30-credit modules in each semester during their three-year bachelor in

humanities or natural sciences including the 15 ECTS module Minor Conservation and Restoration of Cultural Heritage covering all conservation disciplines.

Following a successful completion of the bachelor degree including the minor in conservation and restoration, selected students will continue with a two-year Master Conservation and Restoration of Cultural Heritage in one of the specializations: Modern and Contemporary Art; Paintings; Historic Interiors; Metals; Textiles; Glass and Ceramics; Wood and Furniture; Paper and Books. This will include a great deal of practical training.

After the two-year master (MA) students will have to enter a twoyear post-initial (PI) phase in order to become a fully educated and trained conservator. The professional exposure and experience that students acquire during this part of the training programme will allow them to gain recognition as conservators on an international accredited level.

Students that complete all seven years of academic training will be both nationally and internationally qualified as conservators in one of their chosen specializations. The combination of the minor and master alone will not grant these qualifications.

Conservation and Restoration of Cultural Heritage is organized in collaboration with the faculties of Humanities and of Natural Sciences at the University of Amsterdam (UvA), Netherlands Institute of Cultural Heritage (ICN) in Amsterdam and the Stichting Restauratie Atelier Limburg (SRAL) in Maastricht.

Off-campus conservation work

During the master phase and the post initial phase the conservator in training will be given a chance to work and learn in a conservation-training studio to their chosen area of specialization. The last year of the post initial phase will be devoted to museum internship(s).

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no] No Masters degree [yes or no] Doctoral degree [yes or no]

Yes Yes

Other

Lectures and workshops are open for professionals occasionally

CONTACT DETAILS Program Leaders

Suzanne Maarschalkerweerd-Dechamps, Coordinator MA Conservation and Restoration of Cultural Heritage Sanneke Stigter, Program Leader MA Modern Contemporary Art Conservation

Kate Seymour, Head of Education, SRAL: Coordinator and Program Leader of PI Conservation and Restoration of Paintings, Historic Interior and Modern and Contemporary Art Conservation

Lydia Beerkens, Program Leader PI Modern and Contemporary Art Conservation, SRAL Address

Conservation and Restoration Oude Turfmarkt 141 1012 GC Amsterdam The Netherlands

Stichting Restauratie Atelier Limburg (SRAL) Postbus 1679 6021 BR Maastricht The Netherlands

E Mail

Coordinator of Conservation and Restoration of Cultural Heritage [email protected]

SRAL: [email protected]

Program Leader MA Modern and Contemporary Art [email protected]

Telephone

+ 31 20 5252033

Head of Education, SRAL: [email protected] Program Leader PI Modern and Contemporary Art Conservation, SRAL: [email protected] + 31 43 3218444

Fax Website address

http://www.hum.uva.nl/conservering/home.cfm

Programme address

Ateliergebouw Hobbemastraat 22 1071 ZC Amsterdam The Netherlands

Stichting Restauratie Atelier Limburg (SRAL) Postbus 1679 6021 BR Maastricht The Netherlands

BERN - HOCHSCHULE DER KÜNSTE Information on the MA in Conservation-Restoration, Specialisation in Modern Materials and Media is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

BERN OVERVIEW - MA in Conservation-Restoration, Specialisation in Modern Materials and Media Master in Conservation-Restoration, Specialisation in Modern Materials and Media, Hochschule der Künste Bern HKB (Bern University of the Arts, BUA)

The postgraduate program for the degree of Master of Arts (MA) in ConservationRestoration of Modern Materials and Media is dedicated to the education of future conservator-restorers specialising in the field of modern materials and media in modern and contemporary art. Students focus on the preservation of e.g. modern and contemporary sculptures, design objects and installation art. They learn to develop conservation-restoration strategies for modern materials, audio-visual media as well as for electronic, kinetic and digital works of art. Studies at the Master’s level include specialised blockcourses as well as applied conservation-restoration projects. Block-courses focusing on modern materials impart knowledge on the composition and properties of different materials in modern and contemporary art (e.g. synthetic and semi-synthetic polymers, foodstuff). Students gain theoretical and practical experience with historic and current manufacturing and processing technologies and get in touch with artists' working techniques. Furthermore, they are trained in material identification and learn to systematically analyse degradation phenomena and their origins. This training comprises the hands-on application of analytical techniques (for example infrared microspectroscopy, thermal analysis or photoelastic analysis) as part of failure analysis and the overall development of adequate conservation-restoration strategies. Students acquire knowledge and skills to develop and simulate new conservation-restoration treatments and learn how to use different scientific tools for their objective evaluation. Block-course topics dealing with modern materials include: Composition and Properties of Polymers in Contemporary Art I Composition and Properties of Polymers in Contemporary Art II Industrial Processing Technologies for Polymers in Contemporary Art Artists’ Processing Technologies for Polymers in Contemporary Art Failure Analysis of Polymers in Contemporary Art I Failure Analysis of Polymers in Contemporary Art II Degradation of Polymers in Contemporary Art Conservation and Restoration of Polymers in Contemporary Art I Conservation and Restoration of Polymers in Contemporary Art II Conservation and Restoration of Kinetic Art Each of these courses corresponds to 75 student working hours (equivalent to 2.5 ECTS). Block-courses focussing on modern media teach students how to identify damages on data carriers, troubleshoot faulty signals and installation hardware and to develop appropriate solutions. Handling of “obsolete” hardware, e.g. for re-installation purposes, or adequate handling and cleaning procedures for magnetic tapes are part

of the practical training. A large collection of historic media equipment enables students to gain experience with handling operations and to familiarise with the partially “obsolete” technologies behind. Scopes, waveform monitors and spectrum analysers are used to analyse and to document audiovisual signals and to evaluate signal integrity. Students learn how to transfer different kinds of audio and video carriers to digital media. Other projects focus on the development of methods for the preservation of computer- or web- based artworks as well as the documentation and virtualisation of digital environments. Block-courses topics dealing with modern media include: Connectors, Cables and Signals in Audiovisual Environments Copying and Presenting Audio- and Video Artworks Introduction to Electronics in Artworks Electronics in Audiovisual Devices and Control Engineering Function and Preservation of Audiovisual Equipment Multi-Media Re-Installation Record, Tape and Disc Restoration of Magnetic Tape Conservation and Restoration of Moving Images Art History of the Moving Image Each of these courses corresponds to 75 student working hours (equivalent to 2.5 ECTS). Master students are allowed to focus on the aspect of “modern materials” or “modern media” during their postgraduate specialisation. The specific block-courses are supplemented by a choice of additional courses covering other aspects such as humanities (e.g. material semantics), natural sciences (e.g. complementary analytical techniques) or other specialisations (e.g. courses dedicated to the conservation of paintings, wood, textiles, metals, paper or photography). Course work covers 50 per cent of the time; the other 50 per cent comprise applied work on conservation-restoration projects. This includes specialised workshop practice on art objects or installations made of modern materials (such as plastics, foodstuffs), audio-visual media as well as on electric, electronic, digital and kinetic works of art. All stages of the conservation and restoration practice will be illuminated: from the examination and documentation of art objects to the conception and realisation of adequate conservation-restoration treatments. During these projects students are given the possibility to develop and reflect their own conservation-restoration strategies. They are encouraged to combine practical, technological and material-analytical skills with conservation-ethical and humanistic reflections. Students get in touch with different techniques for documentation, including 3-D documentation, documentation of light, of electric and electronic

components and of sound and movement. This applied part of the curriculum also offers the possibility to work on conceptual installation art and to reflect the boundaries between conservation, restoration, reconstruction and replacement of materials and components. Within this context students are involved in the preparation and realisation of living artists' interviews. The last stage of the program forms the writing of a Master thesis (30 ECTS). The Master thesis is a piece of written research to demonstrate the achievements of each individual student regarding knowledge, experience and skills to develop innovative conservation and restoration practices within this field of specialisation. Postgraduates with such a degree are employable e.g. for museums of modern and contemporary art and design and they take responsibility for the preservation of modern materials and media in archives and other collections. The program enables students to develop the skills needed to participate in specialised research projects. Postgraduate research opportunities are also offered through the Bern University of the Arts (http://www.hkb.bfh.ch/fspmaterialitaet.html). This postgraduate program is offered since 2007. It is a further-development of a four-year diploma curriculum which included a two-year specialisation in modern materials and media conservation, established in Bern 1997.

BERN TEMPLATE - MA in Conservation-Restoration, Specialisation in Modern Materials and Media PROGRAM DETAILS: Program Master in Conservation-Restoration, Specialisation in Modern Materials and name Media, Hochschule der Künste Bern HKB (Bern University of the Arts, BUA). Level

Degree of Master of Arts (MA)

Country

Switzerland

Duration

2 years (120 ECTS credits)

Format

Available full time (2 years) or part time

Campus/ Distant Learning

On campus lectures and training, supplemented by a web-based blended learning and teaching platform

Language

Teaching language is German. Students are allowed to express themselves in

used in teaching

French and English.

Application prerequisites

Degree of Bachelor of Arts (BA) in Conservation (180 ECTS). A minimum of 40 ECTS from courses on modern materials or media conservation are prerequisite. Students must have gained a theoretical and practical background in modern materials or media conservation prior to entering this Master’s programme. The pre-requisites can be acquired at the Bern University of the Arts (BUA) within the Bachelor curriculum in conservation (3 years, 180 ECTS) as offered since 2005. This programme allows the pre-specialisation in modern material and media conservation and includes lectures (at least 20 ECTS) and specialised workshop practice (at least 20 ECTS) dedicated to this particular field. A proof of records in courses (at least 40 ECTS) regarded as equivalent by BUA is requested for bachelors from other universities.

Application procedures

Students can apply twice yearly. Deadlines are 1st of March or 1st of September. The following documents must be submitted: - application form (available online) - curriculum vitae - certificate of the degree of Bachelor of Arts in Conservation - transcript of records of previous studies - documentation of courses and applied conservation projects relevant to the field of modern materials or media conservation.

Interview procedures

Candidates are invited to an assessment (on-site) for consideration of the applicant's experience and expectation.

Number of students accepted

5 - 6 Master students per year

PROGRAM CONTENT: Course The postgraduate program for the degree of Master of Arts in Conservationcontent Restoration of Modern Materials and Media is dedicated to the education of future conservator-restorers specialising in the field of modern materials and media in modern and contemporary art. Students focus on the preservation of e.g. modern and contemporary sculptures, design objects and installation art. They learn to develop conservation-restoration strategies for modern materials, audio-visual media

as well as for electronic, kinetic and digital works of art. Studies at the Master’s level include specialised block-courses as well as applied conservation-restoration projects. Block-courses focusing on modern materials impart knowledge on the composition and properties of plastics in modern and contemporary art and students gain theoretical and practical experience with historic and current manufacturing and processing technologies. They get in touch with artists' working techniques and are trained in systematically analysing degradation phenomena and their origins. This training comprises the hands-on application of analytical techniques (for example infrared micro spectroscopy, thermal analysis or photo-elastic analysis) as part of failure analysis and the overall development of adequate conservation-restoration strategies. Students acquire knowledge and skills to develop and simulate new conservation-restoration treatments and learn how to use different scientific tools for their objective evaluation. Block-course topics dealing with modern materials include: Composition and Properties of Modern Polymers in Contemporary Art I Composition and Properties of Modern Polymers in Contemporary Art II Industrial Processing Technologies for Modern Polymers in Contemporary Art Artists’ Processing Technologies for Modern Polymers in Contemporary Art Failure Analysis of Modern Polymers in Contemporary Art I Failure Analysis of Modern Polymers in Contemporary Art II Degradation of Modern Polymers in Contemporary Art Conservation and Restoration of Modern Polymers in Contemporary Art I Conservation and Restoration of Modern Polymers in Contemporary Art II Conservation and Restoration of Kinetic Art Each of these courses corresponds to 75 student working hours (equivalent to 2.5 ECTS). Block-courses focussing on modern media teach students how to identify damages on data carriers, troubleshoot faulty signals and installation hardware and to develop appropriate solutions. Handling of “obsolete” hardware, e.g. for re-installation purposes, or adequate handling and cleaning procedures for magnetic tapes are part of the practical training. A large collection of historic media equipment enables students to gain experience with handling operations and to familiarise with the partially “obsolete” technologies behind. Scopes, waveform monitors and spectrum analysers are used to analyse and to document audiovisual signals and to evaluate signal integrity. Students learn how to transfer different kinds of audio and video carriers to digital media. Other projects focus on the

development of methods for the preservation of computer- or web- based artworks as well as the documentation and virtualisation of digital environments. Block-courses topics dealing with modern media include: Connectors, Cables and Signals in Audiovisual Environments Copying and Presenting Audio- and Video Artworks Introduction to Electronics in Artworks Electronics in Audiovisual Devices and Control Engineering Function and Preservation of Audiovisual Equipment Multi-Media Re-Installation Record, Tape and Disc Restoration of Magnetic Tape Conservation and Restoration of Moving Images Art History of the Moving Image Each of these courses corresponds to 75 student working hours (equivalent to 2.5 ECTS). Master students are allowed to focus on the aspect of “modern materials” or “modern media” during their postgraduate specialisation. The specific blockcourses are supplemented by a choice of additional courses covering other aspects such as humanities (e.g. material semantics) or natural sciences (e.g. analytical techniques). Course work covers 50% of the time; the other 50% comprise applied work on conservation-restoration projects. This includes specialised workshop practice on art objects or installations made of modern materials (such as plastics, foodstuffs), audio-visual media as well as on electric, electronic, digital and kinetic works of art. All stages of the conservation and restoration practice will be illuminated: from the examination and documentation of art objects to the conception and realisation of adequate conservationrestoration treatments. During these projects students are given the possibility to develop and reflect their own conservation-restoration strategies. They are encouraged to combine practical, technological and material-analytical skills with conservation-ethical and humanistic reflections. Students get in touch with different techniques for documentation, including 3-D documentation, documentation of light, of electric and electronic components and of sound and movement. This applied part of the curriculum also offers the possibility to work on conceptual installation art and to reflect the boundaries between

conservation, restoration, reconstruction and replacement of materials and components. Within this context students are involved in the preparation and realisation of living artists' interviews. The last stage of the program forms the writing of a Master thesis (30 ECTS). The Master thesis is a piece of written research to demonstrate the achievements of each individual student regarding knowledge, experience and skills to develop innovative conservation and restoration practices within this field of specialisation. Postgraduates with such a degree are employable e.g. for museums of contemporary art and design and they take responsibility for the preservation of modern materials and media in archives and other collections. The program enables students to develop the skills needed to participate in specialised research projects. Postgraduate research opportunities are also offered through the Bern University of the Arts (http://www.hkb.bfh.ch/fspmaterialitaet.html). Structure

The full-time workload corresponds to 120 ECTS within two years, where one semester (30 ECTS) is equivalent to a student workload of 900 student working hours. In total, 1350 working hours (45 ECTS) are dedicated to block-courses (30 ECTS specific to modern materials and media conservation, 15 ECTS to other topics). Specialised workshop practice in the conservation-restoration studio encompasses the same workload (45 ECTS). Within the block-courses the percentage of self-study is 50%, in the case of the internal workshop practice 30%. The Master thesis (30 ECTS) is the last requirement for the fulfilment of the degree of Master of Arts in Conservation-Restoration of Modern Materials and Media. The entire program complies with the ECCO/ENCoRE standards and qualifies for independent practice as conservator-restorer in the field of modern materials and media in modern and contemporary art.

Off-campus Conservation-restoration projects at postgraduate level are normally done at conservation the BUA’s internal workshops and laboratories. Master students may also work apply for equivalent off-campus conservation-restoration projects while they are enrolled.

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: UnderYes graduate

Masters degree

Yes

Doctoral degree

No

CONTACT DETAILS Program Prof. Stefan Wuelfert, PhD (head of Master studies) Leader Address

Berner Fachhochschule (Bern University of Applied Sciences) Hochschule der Künste Bern (Bern University of the Arts) Department of Conservation-Restoration Fellerstrasse 11 CH-3027 Bern Switzerland

E-Mail

[email protected] [email protected] (1) [email protected] (1) [email protected] (2) (1) (2)

Responsible for the Modern Materials Curriculum Responsible for the Modern Media Curriculum

Telephone

+41 31 848 38 80

Fax

+41 31 848 38 81

Website address

http://www.hkb.bfh.ch/konservierung.html

Program address

http://www.hkb.bfh.ch/maconsrest.html

CAPARICA – New University of Portugal

MA in Conservation-Restoration/Course Specialization C-R of Modern and Contemporary Art is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

CAPARICA OVERVIEW – Conservation and Restoration MA Currently not available.

CAPARICA TEMPLATE – Conservation and Restoration MA CONSERVATION EDUCATION & TRAINING PROGRAM PROFILE PROGRAM DETAILS: Program name

Conservation and Restoration MA

Level

Masters degree

Country

Portugal

Duration

Two years full time (4 semesters; 120 ECTS)

Format

4 semesters; full time

Campus/Distance learning

On campus

Language used in teaching

Portuguese and English

Application pre-requisites

First degree in Conservation-Restoration or relevant experience

Application procedures Interview procedures

Submit application form online. Applications may be submitted until 31st August, 2010. If necessary interviews are made.

Number of students accepted

20

PROGRAM CONTENT:

Course content

The master degree in Conservation and Restoration is a two-year diploma (120 ECTS), organized in 4 academic semesters and in two specialisms: Conservation Science (CCONS) and Conservation and Restoration (CONS). The second year consists of a full year internship, during which the student will carry out the work necessary to present the master thesis. The master thesis is carried out in a manner that is largely self directed and autonomous, with tutorial supervision. With the exception of the Theory of Art, all courses are organized in both theoretical and laboratory/studio classes. The development of laboratory and research projects is encouraged. Research in Modern and Contemporary Art has been carried out since 2003: this has resulted in several master theses embracing the conservation of contemporary artworks. Projects are developed within interdisicplinary teams and in close collaboration with museums. Examples from master theses, discussed in 2008/2009, range from the restoration of complex assemblage works like, Aluminium Box (Glasses) made by Lourdes Castro with daily use objects (of metal, plastic, wood, glass, cardboard, ceramic); to the full documentation of the recreation of an installation by Alberto Carneiro, including the development of a digital archive; another example is the restoration of a soap sculpture by João Pedro Vale, Can I Wash You? that has been conceived to be recreated for every exhibition.

Structure

Two-year diploma (120 ECTS), organized in 4 academic semesters and two specialisms: Conservation Science (CCONS) and Conservation & Restoration (CONS). First year with 10 curricular units in the Conservation Science (32 ECTS), Conservation and Restoration (22 ECTS) and Art History (6 ECTS). Second year, full year internship (60 ECTS) in Conservation and Restoration in a specific area, such as paintings, textiles, stone, etc. In this case, the focus will be the application of conservation and restoration methods and techniques for non-trivial problems and/or the development of new methodologies and treatments for the cultural heritage.

Off-campus conservation work

Both during the first year, in the framework of the curricular units Project, and in the second year internship students work in either Museums, in the conservation laboratories of IMC (Institute for the Museums and Conservation), or in historic houses and other institutions responsible for the preservation of cultural heritage.

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no] Yes Masters degree [yes or no] Doctoral degree [yes or no]

Yes. In Conservation Science. Yes

Other

CONTACT DETAILS Program Leader Address

Maria João Melo. Starting next academic year 2010/2011, Leslie Carlyle

E Mail

Department of Conservation and Restoration Faculty of Sciences and Technology New University of Lisbon Campus Caparica 2829-516 Caparica Portugal [email protected]

Telephone

(00351) 21 294 83 22

Fax

(00351) 21 294 83 22

Website address

http://www.dcr.fct.unl.pt/

Programme address

http://www.fct.unl.pt/candidato/como-candidatar-me/intro

COLOGNE – UNIVERSITY OF APPLIED SCIENCES Information on the MA in Art Conservation is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

COLOGNE OVERVIEW - MA in Art Conservation Cologne training program started in 1986 and since then conservation of modern materials and contemporary art became an ever growing field of research and teaching. More recently modern materials formed an important component of objects conservation. Within the last five years more then 25 diploma theses focused on modern materials and the conservation of modern and contemporary art (see http://db.re.fhkoeln.de/ICSFH/Daten/datenbanken.aspx or http://www.incca.org/cologneabstracts In response to the growing importance of the field a new professorship for conservation of modern and contemporary art was established in 2009. While some lectures and workshops on modern materials and the conservation of 20th century painting are offered within the BA course the core program is embedded in the MA course. Cologne Institute of Conservation Sciences has presently about 200 students, 10 professors, 7 lecturers and assistants.

COLOGNE TEMPLATE - MA in Art Conservation Conservation of modern and contemporary art and objects CONSERVATION EDUCATION & TRAINING PROGRAM PROFILE

PROGRAM DETAILS:

Program name

Cologne Institute for Conservation Sciences offers BA and MA courses in conservation and restoration of - Easel paintings, sculptures and modern art - Wooden Objects and modern materials - Written documents, graphic works and book illumination - Stone and wall paintings - Textiles and archeological fibers

Level

BA and MA

Country

Germany

Duration

6 semesters BA 4 semesters MA Full time

Format Campus/Distance learning

on campus/project related

Language used in teaching

German, partially English

Application prerequisites

BA: A-levels, at least one year practical experience in conservation, MA: first degree, 2.5 years practical experience in conservation, MA project proposal See http://db.re.fh-koeln.de

Application procedures Interview procedures

Number of students accepted PROGRAM CONTENT: Course content

BA: applicants are invited to partake in an 2 days assessment MA: individual appointment with professor required About 10 students per course

BA courses: Students who whish to specialize in the field of conservation of modern and contemporary art and objects are required to attend courses in the conservation of traditional art and objects first. The 6-semesters BA program aims to develop

basic knowledge and skills in art technology, conservation and restoration within five areas of specialization (see above). Course content covers material sciences, art technology, theory and practice of preventive/remedial conservation and restoration, methods of examination, analysis and documentation, art history, ethics, museology and preservation of monuments, business law and management procedures et al. Within 4th, 5th and 6th semester of the BA course special lectures and workshops are offered amongst others on plastics, outdoor sculptures and modern materials, techniques and conservation of 20th century painting as well as on photographs and modern prints. MA course: Following the successful completion of an BA degree the 4-semesters MA program offers an opportunity to specialize amongst others in conservation of modern and contemporary art and modern materials. The course aims to develop the ability to analyze and solve complex problems in research, preservation and presentation of modern and contemporary art works and objects. It offers a spectrum of lectures, seminars and workshops on modern materials, technology, documentation and conservation of objects, new media art, installation art and modern painting as well as opportunities to further develop professional skills such as museum and project management or business studies (For further details see also http://db.re.fhkoeln.de/ICSFH/Uploads/Master.pdf ) The MA program benefits from the knowledge and expertise of members from the professional community performing as guest lectures. MA students are required to develop a MA project with their application. The project may focus on more theoretical and/or practical problems of conservation of modern and contemporary art and objects. The project may ideally be realized in collaboration and within a partner museum or another institution. Students that complete all six years of academic training will be highly qualified as conservators in their chosen specialization.

Structure

Off-campus conservation work

The program is organized in a modular structure and each year is divided into two semesters. For full study program see: http://db.re.fhkoeln.de/ICSFH/dateien.aspx Practical conservation work is a major component of all courses offered (up to 50%)

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or yes no] Masters degree [yes or yes no] Doctoral degree [yes or In preparation no] Other

CONTACT DETAILS Program Leader

Prof. Dr. Robert Fuchs (Director CICS, Conservation of photographs and modern prints)

E Mail

Prof. Dr. Gunnar Heydenreich (Modern and Contemporary Art Conservation) Prof. Dr. Friederike Waentig (Conservation of wooden objects and modern materials) CICS Cologne Institute of Conservation Sciences Cologne University of Applied Sciences Ubierring 40 50678 Köln, Germany [email protected]

Telephone

+49 (0)221 8275-3454

Fax

+49 (0)221 8275-3485

Website address

http://db.re.fh-koeln.de

Address

Programme address

COPENHAGEN - KONSERVATORSKOLEN Information on the UG in Samtidskunst (Contemporary Art) is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

COPENHAGEN OVERVIEW – UG in Samtidskunst (Contemporary Art) Currently not available

COPENHAGEN TEMPLATE – UG in Samtidskunst (Contemporary Art) PROGRAM DETAILS: Program name

Samtidskunst (Contemporary Art)

Level

Undergraduate

Country

Denmark

Duration

3 weeks (6,5 ECTS)

Format

Full time

Campus/Distance learning

Campus

Language used in teaching

Danish

Application pre-requisites Mandatory course in the 3-year bachelor program at the Department for Pictorial Art at the School of

Application procedures

Conservation, Copenhagen No specific procedures since it is part of the bachelor program at the School of Conservation, Copenhagen; application for the bachelor program, see http://www.konservatorskolen.dk/dk/site.aspx?p=690

Interview procedures

see http://www.konservatorskolen.dk/dk/site.aspx?p=690

Number of students accepted

8-10

PROGRAM CONTENT: Course content

Structure

Focussing on establishing an understanding of contemporary art forms and the consequent challenges for conservation, the content being a survey of premises for avant-garde art in the 20. and 21. centuries and for its preservation with presentations of select isms and conservation case stories. The background being prior courses on documentation techniques, modern materials, polymer chemistry, preventive conservation, and preservation of cultural heritage. Every threes years as a mandatory course in the bachelor program at the Department for Pictorial Art at the School of Conservation, Copenhagen. Full time; lectures, exercises, and excursions, 6,5 ECTS, see http://www.konservatorskolen.dk/dk/site.aspx?p=506

Off-campus conservation work

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no] yes Masters degree [yes or no]

yes

Doctoral degree [yes or no]

Postgraduate, PhD. in Conservation Science

Other

CONTACT DETAILS

Program Leader

Elisabeth Kofod-Hansen

Address E Mail

Konservatorskolen, Esplanaden 34, DK 1263 København K [email protected]

Telephone

+45 33 74 47 61 (School: +45 33 74 47 00)

Fax

+ 45 33 74 47 77

Website address

www.konservatorskolen.dk

Programme address

http://www.konservatorskolen.dk/dk/site.aspx?p=392, http://www.konservatorskolen.dk/dk/site.aspx?p=506

COPENHAGEN – KONSERVATORSKOLEN Information on the MA in Preservation of Complex and Complicated Objects is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

COPENHAGEN OVERVIEW – MA in Preservation of Complex and Complicated Objects Currently not available

COPENHAGEN TEMPLATE – MA in Copenhagen Preservation of

Complex and Complicated Objects PROGRAM DETAILS: Program name

Preservation of complex and complicated objects

Level

Master program

Country

Denmark

Duration

3 weeks

Format

Full Time

Campus/Distance learning

Campus learning

Language used in teaching

Danish with a few English speaking lecturers

Application pre-requisites Bachelor of Conservation Science from the School of Conservation or a similar degree approved by the School of Conservation, Copenhagen Application procedures Written application, see http://www.konservatorskolen.dk/dk/site.aspx?p=714 Interview procedures

Not required

Number of students accepted

No upper or lower limit

PROGRAM CONTENT: Course content

Structure Off-campus conservation work

Select complex problems and strategies concerning the preservation of cultural and natural heritage are presented and discussed. Select theoretical models for decision making within the framework of preservation are examined and discussed Every second year, 3 week full time course of 6 ECTS

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no] yes Masters degree [yes or no]

yes

Doctoral degree [yes or no]

Postgraduate, PhD. Conservation Science

Other

CONTACT DETAILS Program Leader Address E Mail Telephone

Mikkel Scharff, Elisabeth Kofod-Hansen, Pernille Bronée Konservatorskolen, Esplanaden 34, DK 1263 København K [email protected]; [email protected]; [email protected]

Fax

+45 33 74 47 60, +45 33 74 47 61, +45 33 74 47 63 (School + 45 33 74 47 00) + 45 33 74 47 77

Website address

www.konservatorskolen.dk

Programme address

http://www.konservatorskolen.dk/dk/site.aspx?p=465

DELAWARE – WINTERTHUR/UNIVERSITY OF DELAWARE Information on the MA Programme in Art Conservation is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

DELAWARE OVERVIEW - MA in Art Conservation Winterthur/University of Delaware Program in Art Conservation Contemporary Art Curriculum The Winterthur/University of Delaware Program in Art Conservation (WUDPAC) is a three--year graduate--level program jointly sponsored by the University of Delaware (UD) and Winterthur Museum. The program accepted its first class in 1974 and since then has conferred a Master of Science and certificate in conservation to over 300 graduates. Students can specialize in one of seven conservation disciplines including; 1) decorative and painted surfaces, 2) furniture, 3) objects, 4) paintings, 5) works of art on paper, 6) photographic materials, and 7) textiles. Each year the program accepts 10 students and has 18 on--site faculty members including full--time faculty members at UD and adjunct faculty members/conservators and scientists at Winterthur Museum. All 10 WUDPAC students accepted each year are awarded fellowships and tuition scholarships for full--time study for the entire length of the Program. Professional development and international summer research travel support is also available by application. In recent years the number of students entering the program with an interest in the preservation of modern materials and contemporary art has increased. Though the program does not offer a major specifically in contemporary materials this topic is addressed throughout the curriculum in a variety of ways including lectures and laboratory activities, elective coursework, treatment experiences and internships. During the first--year all 10 students take the same core coursework focused on the history of art and artifacts technology and the physical and chemical properties of materials. This content is delivered as a series of sequential 3-- to 4--week courses (internally referred to as blocks), that meet 3 days a week, addressing the following disciplines; paper conservation, textile conservation, library and archival materials conservation, furniture conservation, photographic materials conservation, organic objects conservation, inorganic objects conservation, paintings conservation, and preventive conservation. Four 14--week science classes, offered 2 days a week, augment the discipline-- specific courses by focusing on fundamental physical and

chemical properties, mechanisms of deterioration, and conservation treatment and decision making of the materials being studied. Each block and science course includes varying amounts of lecture content and laboratory exercises on modern materials. Documentation projects include the examination of both traditional and modern materials. Additional examples of modern materials content includes studying the structure and properties of synthetic fibers in the textile conservation block, a lecture on electronic media in the photographic materials block, and a history of plastics and plastic identification practicum in the organic materials block. A number of contemporary art conservators who have been interviewed about fundamental education and training practices for the conservation of contemporary art have noted that training should include a strong foundation in the conservation of traditional art processes and materials. The first--year blocks provide such a foundation. At the conclusion of the first academic year each student declares his/her conservation specialty. The second--year curriculum focuses on conservation treatment and scientific analysis of objects in the student’s given specialty. Treatment work is supervised by a faculty member (internally referred to as a major supervisor) that specializes in the given discipline. The objects selected for student treatment are chosen because they provide fundamental treatment experiences. For those students interested in contemporary materials, the major supervisor identifies and assigns appropriate treatment objects to match those interests as well as meet fundamental curriculum needs. The supervisory ratio during the second year is on average one major supervisor to 2-3 students. Each student, with faculty advice and guidance, chooses a major work as the subject of an in--depth technical study. A recent contemporary art student chose to study a mixed media collage piece by a female artist who was a contemporary of James Rosenquist’s. The Program hosts lectures on time--based media and has had one on installation art, but to date no students have treated time--based media, performance pieces, or installation art on site. However, these issues are addressed in most contemporary art internships. Students interested in contemporary art are also given the option to take electives on topics relevant to modern materials and contemporary art. These electives are often co-- supervised by WUDPAC faculty members and modernist art historians at the UD or area conservators who work in contemporary art museums. These may include independent studies involving literature reviews, trips to artists’ studios and conservation laboratories that work with modern materials, and also discussion about the ethics of treatment of contemporary art. Some of this course work has included

the submission of abstracts for the modern materials section of the AATA Online. Students are also encouraged to join INCCA. The third--year curriculum requires an 11--month internship completed off--site at one or more host institutions where the student functions as a cooperative staff member and continues to develop and refine treatment skills, object assessment, and responsible professionalism. Those students interested in modern and contemporary materials often pursue internship opportunities in institutions that have strong contemporary art collections. In addition to the third year internship, each student completes two 8-- to 10-- week summer work projects that complement their on--site coursework. These internships include domestic and international opportunities for working with professionals in a variety of disciplines including contemporary materials. Recent contemporary--art--directed WUDPAC students have carried out both summer work projects and their third--year internships focusing on contemporary art (host institutions have included the Museum of Modern Art, Getty Conservation Institute, the Houston Museum of Fine Arts, Stedelijk Museum in the Netherlands, the Queensland’s Art Gallery/Gallery of Modern Art in Brisbane, Australia, and the Lunder Center at the Smithsonian American Art Museum). Ratios generally have been one supervising conservator and several assistant conservators to 2--3 interns. The integration of contemporary materials conservation course work and content within our existing programmatic framework has been successful, and we continue to look for ways to strengthen this integration and meet the field’s needs. Graduates of WUDPAC or the department’s doctoral program now head conservation departments at museums with primarily modern collections, such as the Museum of Modern Art and the Hirshhorn Museum and Sculpture Garden. One of our graduates specializes in time--based media and has coordinated several INCCA--US conferences, including one on interviewing living artists. Collaboration with, and mentorship by, conservators actively caring for contemporary collections has been the greatest strength of the existing curriculum. We plan to continue fostering and developing such relationships while also continuing to gauge the amount of content spent on modern materials and contemporary art in the first-- and second--year curriculum.

DELAWARE TEMPLATE - MA in Art Conservation

CONSERVATION EDUCATION & TRAINING PROGRAM PROFILE PROGRAM DETAILS: Program name Level

Winterthur/University of Delaware Program in Art Conservation Master‘s of Science

Country

United States

Duration

Three years full-time

Format

Two years on-site, one year off-site

Campus/Distance learning

Most course work is completed at our Winterthur campus

Language used in teaching

English

Application pre-requisites

A minimum of a Bachelor of Arts degree is required. Applicants must have an overall academic index (on a 4.0 point scale) of at least 2.5 and an index in the field of concentration of 3.0. The latter figure is computed from the junior and senior years. These following majors are preferred areas of study: anthropology, archaeology, art and cultural history, chemistry, or studio arts. Applicants with degrees in other majors who meet the minimum course prerequisites will be considered.

Application procedures

Applications must be made through the Graduate Studies Office at the University of Delaware using their online application.

Interview procedures

All applicants who reach the final stages of evaluation will be invited for a personal interview at Winterthur Museum & Country Estate. At that time they will present a portfolio of both two- and threedimensional objects that demonstrate their art and crafts skills and their conservation experiences. All applicants invited for interviews are required to take a standardized test for alternate color vision, and an examination of their freehand drawing skills. In addition, a one-hour chemistry exam is part of the interview process to ensure that applicants are well versed in the fundamentals of bonding, chemical nomenclature, balancing equations, organic functional groups, basic organic reactions, stereochemistry, oxidationreduction reactions, acid-base chemistry, and pH.

Number of students accepted

Ten.

PROGRAM CONTENT: Course content

http://www.artcons.udel.edu/academic/masters/curriculum/coursework

Structure

The curriculum of the first year introduces the student to an overview of the conservation field and its varied specialties: the history of art and artifact technology, the essential physical and chemical properties of materials, mechanisms of deterioration, and the conservation treatment of cultural property. In the second year, the student focuses on their specialty of choice with the objective of continuing the development of basic hand skills, a thorough ability to examine and document the condition of cultural property, problem solving and ethical treatment decision making, and an understanding of the care and preservation of specialty objects. The entire third year, or internship, is spent under the supervision and mentoring of a conservation professional(s) at one or more host institution(s) or private laboratories, where the student should function as a cooperative and productive staff member. The fundamental objectives of this phase are to broaden the student's exposure to specialty object problems and treatments, refine hand skills, build confidence in object assessment and decision making, improve reportwriting skills, and develop responsible professionalism.

Off-campus conservation work

Two eight-week summer work projects complement coursework with practical applications in collections care or remedial conservation at another institution, conservation laboratory, or historic site. These national and international experiences present our students with opportunities to solve problems outside the classroom, drawing upon their knowledge and abilities to address real-world preservation challenges. In addition the third year is completed off-site as described above under Program Content, Structure.

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no]

Yes (http://www.artcons.udel.edu/academic/undergraduate)

Masters degree [yes or no]

Yes (http://www.artcons.udel.edu/academic/masters)

Doctoral degree [yes or no]

Yes (http://www.artcons.udel.edu/academic/phd)

Other

CONTACT DETAILS Program Leader

Debra Hess Norris, Chair of Art Conservation Department Jae Gutierrez, Interim Director of Winterthur/University of Delaware Program in Art Conservation

Address

Same as program address listed below

E Mail

Debra Hess Norris: [email protected] Jae Gutierrez: [email protected]

Telephone

302.831.3489

Fax

302.831.4330

Website address

www.artcons.udel.edu

Programme address

Department of Art Conservation University of Delaware 303 Old College Newark, DE 19716

GHENT – UNIVERSITY OF GHENT Information on the MA in Conservation and Exhibition Management of Contemporary Art is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

GHENT OVERVIEW – MA in Conservation and Exhibition Management of Contemporary Art The postgraduate program ‘Conservation and Exhibition Management of Contemporary Art’ (TeBeAc) was established in 1999 as a collaboration between the University College of Ghent, the University of Ghent and the Museum of Contemporary Art in Ghent (SMAK). The program was initially aimed at the professional training of conservators of contemporary art only, and focused on elaborating expertise and making highly specialized knowledge more accessible in order to answer the emerging need for professionalism in the scene of modern and contemporary art in Belgium. While the program rather started off as an experimental training project in the beginning, it has now evolved into a well-structured study program after 10 years of maturing. This professional training is now firmly rooted in the art scene, with a well found base of more than 100 graduated students, who mostly have remained active up until now within the field of conservation and exhibition of contemporary art. Today TeBeAc is now also incorporated in the Belgian education system and is officially acknowledged by all partners in its field of activity. Throughout the program, the close link between conservation and exhibition practice and theory is explored. Theory and museum practice adapted to the variability of artworks are combined in wide range of courses where education,

research and practice are key features of the program. Additionally, the trainees are actively immersed in the everyday practice of art conservation and exhibition through seminars and lectures by professionals. The study program is divided into two sections: Exhibition and Conservation Management within an interdisciplinary approach. Seminars and lectures cover specific topics related to conserving and exhibiting contemporary art, including ethics, deontology, law, materials used by contemporary artists, and collection management itself. The section Conservation Management covers specific subjects, within the framework of new conservation strategies and technologies developed for modern and contemporary art, such as artist interviews, natural science research techniques, decision making and documentation models, knowledge on international networks. Students will perform research in order to manage the conservation and reinstallation of contemporary artworks (installations, performative and ephemeral art) by studying cases (ethnographic approach) in order to understand the material structure, history, context (different stakeholders) and concepts of the artwork before decision-making on a preservation strategy can be developed. The section Exhibition Management covers a range of curatorial approaches and innovative exhibition models, curatorial practice with special emphasis on the selection and presentation of exhibitions of contemporary art, close reading and analysis of philosophical discourses of particular relevance to contemporary art theory, education and reception theory in relation to courses about audience mediation, learning through practical experience with historical, theoretical and critical reflection by analyzing case studies, education and reception theory. Besides the involvement of the teaching staff of the University of Ghent and University College of Ghent and the members of the professional community of SMAK, the program is also benefitting from the knowledge and expertise of guest lecturers (artists, international museum professionals,). Also doctoral research (PhD) is involved in the program: Conservation and presentation of contemporary artworks which contain foodstuffs (Julie Gilman), Development of a theory of the (modern) exhibition (Guy Bovyn) and Constructivist mediation in museums of contemporary art (Marijke Van Eeckhaut). In the framework of the ongoing internationalization process, where study programs are upgraded to meet generally accepted academic standards as set by international accreditation, this postgraduate program will be incorporated as a professional master in art science at University Ghent, but will still be organized in association with University College Ghent and the Museum of Contemporary Art Ghent. The future challenge will remain focused on the professional training of qualified conservation and exhibition managers, while retaining the individuality and key features of the program in the actual structure, whereby both Conservation and Exhibition Theory will be linked with general museum practices. Biography Lecturer:

Julie Gilman (1976) obtained her Master’s degree in Art Sciences and Archaeology at Ghent University (Belgium) in 1999. She also obtained her Postgraduate degree in Conservation of Contemporary Art (University College Ghent – Museum of Contemporary Art Ghent - University Ghent) in 2001. After graduation she worked as coordinator of this Postgraduate Program. She is currently working as an Academic assistant at University College Ghent. Her PhD research is a joint venture of the ‘Royal Academy of Fine Arts dept.’ (University College Ghent), the ‘Art, Music and Theatre Sciences dept.’ and the ‘Food Safety and Food Quality dept.’ (Ghent University). Her research includes the development of methodologies and tools to address issues of preserving and documenting ephemeral artworks with organic materials, analyzing the conservation and presentation of ephemeral and performative art forms in museum contexts, museum practices adapted to the variability of artworks, transmission of food preservation techniques (tangible) and other preservation strategies (intangible). She also researches the implementation of scientific conservation methods in food industry into the conservation of contemporary artworks with foodstuffs, taking into account conservation issues in contemporary art decision making. The aim of this project is to develop theoretical framework that contribute to a good practice in the care for ephemeral artworks with foodstuffs.

GHENT TEMPLATE – MA in Conservation and Exhibition Management of Contemporary Art PROGRAM DETAILS: Program name Level

Conservation and Exhibition Management of Contemporary Art MA Postgraduate Program

Country

Belgium

Duration

1 year

Format

Full time

Campus/Distance learning

The program has to be studied on campus

Language used in teaching

Main language: Dutch Second language: guest teachers: English Academic master degree

Application pre-requisites

Application procedures

-

Interview procedures

-

Number of students accepted

No upper or lower limit

PROGRAM CONTENT: Course content

The program aims to develop an understanding of the use of new materials and concepts used by contemporary artists. Therefore the conservation and exhibition management demands art oriented theoretical, philosophical and critical research besides the technical research of materials. In this context Conservation and exhibition are considered as closely linked with each other. The artwork cannot be reduced to a material object. With the involvement of the audience the artworks include a social and cultural existence and therefore the mediation of a curator is needed. Students have to develop and manage new strategies for the preservation and presentation of the collections in storage, transit and display. See overview of program in attachment

Structure Off-campus conservation work

The students are engaged within a work based learning experience in the Museum of Contemporary art in Ghent (SMAK). They also have to conduct a research project which can be completed by a work based learning experience in the heritage sector.

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no] no Masters degree [yes or no]

no

Doctoral degree [yes or no]

Yes

Other

-

CONTACT DETAILS Program Leader

Bram Vandeveire

Address

E Mail Telephone

TeBeAc KASK J. Kluyskensstraat 2, BE - 9000 Gent BELGIUM [email protected] +32 (0)9 266 08 84 Mobile: +32 (0)486 56 16 28

Fax Website address

www.kask.be (University College of Ghent) www.smak.be (University Ghent) www.ugent.be (SMAK)

Programme address

http://www.kask.be/index.php?/opleidingen/posthogeschool

KINGSTON – QUEENS UNIVERSITY Information on the MA in Art Conservation is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

KINGSTON OVERVIEW - MA in Art Conservation Modern Materials Research in Educating Conservation and Conservation Science Students Alison Murray

The Art Conservation Program at Queen’s University is well placed to identify the emerging conservation needs of modern and contemporary art and to develop responses. The program draws on opportunities afforded by the art history and studio programs, which are also in the Department of Art, and by the neighbouring Agnes Etherington Art Centre. The program relies on professors’ research interests as well as relationships built up over many years with paint manufacturers and research laboratories all over the world. Capitalizing on these factors, students undertake research projects prompted by their own interest in modern materials. The focus of this paper will be this research, but other opportunities at Queen’s for learning about the conservation of contemporary and modern art will also be described. Started in 1974, the Master’s of Art Conservation Program at Queen’s trains conservation students in three different streams, focusing on paintings, artefacts and paper objects. There are also two research streams, a two-year program for students with a science or engineering undergraduate degree who plan to work as conservation scientists and a year-long, mid-career program for conservators with five years of experience. Students in any of these streams can choose to concentrate on modern and contemporary art. Given Canada’s small population and this time of economic restraint, training and education for such a focus were incorporated into an established art conservation program at Queen’s. This approach has many advantages since students from various backgrounds and in the different streams (paintings, paper, objects, and research) learn from and work with each other. Though a number of financial resources for student support exist, none is specifically tied to contemporary art. At present there are no plans for incorporating more contemporary art into the Art Conservation Program. Various research opportunities exist at the master’s level. Conservation students perform a research project in the second year of their program. Research stream students need to complete research for their theses. What are the results of manufacturers’ advice to put a surface coating on acrylic paintings? What happens to the surface of acrylics once they have been dry cleaned? Such questions, of critical interest to professional conservators and conservation scientists, are investigated by our students. Based on 14 years of experience with the program, this paper will focus on the organization of the research courses, the pedagogical benefits, student perspectives, and advances in the field of modern materials. The art conservation program has developed methods for providing guidance and experience in the essential scientific and engineering areas, often causes of anxiety for conservation students from arts and humanities backgrounds. Our links with science and engineering departments at Queen’s University have often proved useful here. We provide opportunities for interaction with leaders in research (for example at the Canadian Conservation Institute), with manufacturers (for example the acrylic

paint manufacturer Golden Artist Colours), and with artists. Long-term projects have included the impact of aqueous cleaning of acrylic paints and determination of the materials removed. Short-term projects have included stain removal from acrylic paints and the identification of artists’ materials including those of Yves Gaucher and David Alfaro Siqueiro. Students must balance the time needed for their research project with the immediate demands of their other courses. This paper discusses the benefits of strict project deadlines and regular student meetings with pre-arranged agendas. The peer-mentoring that takes place at an annual poster session has proved very useful. The most popular recommendation is to start research early, but suggestions for narrowing down research topics and making the most of consultations with the summer internship supervisor are also valuable. This paper will describe how the research component of the Art Conservation Program at Queen’s University forms an essential part of education in the conservation of modern materials. Future enhancements of the research program would include larger projects, new topics (for example investigations on objects as well as paintings), and acquisition of more research equipment (such as environmental chambers). Barbara Klempan, Associate Professor in Paintings Conservation, developed and teaches the lecture course History, Technology, and Conservation of Contemporary Art (ARTC-823), which has been offered every two years since 2004. Students from any stream can take this course, which is mandatory for paintings students. Included are discussions on paintings, sculpture, multi-media, and installations. Students visit the National Gallery of Canada and the Agnes Etherington Art Centre at Queen’s, where they also liaise with curators. Klempan presented this course to colleagues at the 2004 Canadian Art Conservation (CAC) Annual Conference in Quebec City, in her paper “Teaching in the New Millennium: the Conservation of Contemporary Art.” In all their lab courses, conservation students work on objects accepted from different museums, galleries, and the public, including contemporary or modern works of art.

KINGSTON TEMPLATE - MA in Art Conservation PROGRAM DETAILS: Program name Level

Art Conservation Program, Department of Art, Queen’s University Master’s (Master of Art Conservation)

Country

Canada

Duration

Two years

Format

Only available full-time.

Campus/Distance learning

On campus as well as internships off-campus

Language used in teaching

English

Application pre-requisites

A four-year honours degree in the humanities, sciences, or engineering, with upper second-class standing (or equivalent). One full-year, post-secondary course in fine art studio or workshop practice (or equivalent), for treatment programs. One full-year university course in general chemistry and a one-term university course in organic chemistry, both with a laboratory component. Applicants with an undergraduate degree in the humanities must have a minimum of five full-year courses in art history, ethnology, archaeology, or equivalent. Applicants with a science or engineering undergraduate degree must have a minimum of two full-year courses in art history, ethnology, archaeology, or equivalent. Proficiency in English. Applicants whose first language is not English or who have not recently studied for at least one complete year at a post-secondary institution where English is the official language of instruction, will be required to pass an English language proficiency test. Good visual sensitivity and manual skills. Experience in conservation is highly recommended.

Application procedures

Visit the Queen’s University, School of Graduate Studies and Research web page www.queensu.ca/sgsr for application procedures or contact the Art

Conservation Program. Applications need to be submitted to the Graduate School by January 31. Interview procedures

Number of students accepted PROGRAM CONTENT: Course content

An applicant is interviewed, usually in person, but other possibilities exist. A portfolio is presented at the interview. A tour of the program is also given to the applicant by a student. After this, the applicant completes a questionnaire. 12 to 13 a year

There are various programs including treatment and research streams. In the treatment stream, students must choose to specialize in the conservation of paintings, artefacts, or paper. For the treatment streams there are: •Four terms of theoretical and practical study on campus: advanced lecture courses, laboratory work in the conservation of heritage objects, and a research project; •Two twelve-week, off-campus summer internships. Two research streams exist: 1) a two-year program for science and engineering graduates to carry out research in conservation science and 2) a one-year, mid-career program for conservators with a minimum of five years of conservation experience. For the research streams there are: • Four advanced lecture courses, original research, and a thesis, with no practical treatment component; • Research individually designed to suit the background and interests of students and faculty. Topics may be in history of technology or other conservation-related areas. Students interested in modern and contemporary art usually study the conservation of paintings. The program includes one lecture course specific to the conservation of modern and contemporary art which are mandatory for paintings students but open to all

Structure

Off-campus conservation work

conservation students. Students have the opportunity to treat different types of works of art, depending on what is available at the time. On campus there are two 12-week terms per year. Lectures are in the morning and labs, with demonstrations, are in the afternoon. •Two twelve-week, off-campus summer internships are required over the two years.

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no] No Masters degree [yes or no] Doctoral degree [yes or no]

No other master’s program in conservation offered at Queen’s No

Other

-

CONTACT DETAILS Program Leader

Krysia Spirydowicz

Address

15 Bader Lane

E Mail

[email protected]

Telephone

(613) 533-6000 ext. 74340

Fax

(613) 533-6889

Website address

http://www.queensu.ca/art/programs_artc.html

Programme address

See above.

LONDON – THE COURTAULD INSTITUTE Information on the Postgraduate Diploma in the Conservation of Easel Paintings is provided as follows:

An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

LONDON OVERVIEW – Postgraduate Diploma in the Conservation of Easel Paintings Students will find themselves part of a small vibrant department with an integrated research culture and strong links to the professional conservation community. Apart from their taught course, they will have ample opportunity to take part in international seminars and workshops hosted by the C&T Department and interact with the practising conservators, research fellows and PhD students. In the first year students take lecture courses covering painting and conservation methods and materials, as well as lectures in applied science and the techniques of scientific examination. Practical work begins in the first term with making replicas and examination of the first painting each student will conserve. There is either a basic chemistry course (for arts graduates) or a prescribed selection of art history lectures (for science graduates). At the end of the year, students must have achieved a satisfactory standard in their practical work and passed written examinations in order to continue. The second year of the course is focused on practical conservation with students working on three/four painting during the three terms. Students work on a range of works including C16th Netherlandish panel paintings, C20th mixed media paintings and works from the Courtauld Gallery. There is also a series of specialised lectures (often given by international conservation professionals), in-situ surveys, seminars and visits to conservation departments and studios. Conservation of Contemporary and Modern art and Collections Care is taught through seminars and workshops at the Courtauld, Tate and White Cube Gallery. Students particularly interested in Contemporary and Modern paintings will be given the opportunity to treat a relevant works of art during the course.

In the third year, one term is devoted to a research topic on some aspects of conservation, conservation science or artists‘ materials and techniques. Many of these projects involve the student work with another Institution. Recently, this has included the National Trust, the British Museum, the Van Gogh Museum and the MoMA (New York). The final two terms are focused practical conservation, with a few seminars on professional practice, research skills and careers. By the end of the third year a student will have typically completed the required conservation work on six paintings. The award of the Institute‘s Diploma is based on the examination of all aspects of the student‘s practical conservation, documentation and on the research dissertation.

LONDON TEMPLATE – Postgraduate Diploma in the Conservation of Easel Paintings

CONSERVATION EDUCATION & TRAINING PROGRAM PROFILE PROGRAM DETAILS: Program name CONSERVATION OF EASEL PAINTINGS Level

Postgraduate Diploma

Country

UK

Duration

Three years

Format

Three years full-time

Campus/Distance learning

Campus Learning

Language used in teaching

English

Application prerequisites

Normal entry requirement is a first degree in art history, science or fine art. For applicants whose first language is not English, we require an IELTS bandwidth of 7.0 overall or recognised equivalent.

Application procedures

Applicants may apply direct to The Courtauld. Complete applications should include:

Completed application form

Two confidential academic references, in signed, sealed envelopes A transcript of your academic record from your university English proficiency certificate (if applicable) Please see the Guidance Notes at the end of the application form for details. http://www.courtauld.ac.uk/degreeprogrammes/postgraduate/easels/EPapply.shtml Interview procedures

Short listed applicants will be invited for an interview day. This day includes a slide test, dexterity test and interview with tutors. Successful applicants will usually be notified within two weeks.

Number of students accepted

Five

PROGRAM CONTENT: Course content

Classes and lectures cover the following topics: the history of artists' materials and techniques the deterioration of paintings preventive conservation/environmental control documentation and technical examination of paintings methods and materials of conservation conservation practice inorganic and organic chemistry optics and colour theory cleaning principles varnishes conservations mechanics

adhesives and consolidants retouching physical behaviour of canvas and wood issues in the conservation of contemporary and modern art Practical sessions: Cleaning/retouching/lining /wood working & panel treatment/hanging and display/courier activities/ gallery housekeeping/preventive. Studio based treatments: During the course a student will work on approximately 6 paintings taking the works through all necessary stages to completion, depending on the work. Structure

The first year of the course aims to provide the foundation of knowledge and core visual and practical skills on which students will continue to build for the next two years. This is achieved through lectures and studio work. Entry into the second year requires passing a written science/or art history exam, a written open exam and a viva based on your practical work and documentation. The second year focuses on developing knowledge, skills and attitudes. The teaching is primarily based in the studio and projects are provided that encourage the exploration and research and refinement of conservation practice. . Entry into the third year requires passing a viva based on your practical work and documentation. The third year focuses on research and increasingly advanced and complex problem- solving, planning and critical judgement. The research project occupies the first term of the year. During the spring and summer terms students return to practical conservation work and the completion of their treatments. The award of the Institute‘s Diploma is based on the examination of all aspects of the student‘s practical conservation, documentation and on the research dissertation.

Off-campus conservation work

In-situ condition survey/ in-situ environmental survey/ in-situ remedial treatment (occasionally)

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no] No Masters degree [yes or no] Doctoral degree [yes or no]

No Yes

Other

Research fellowships

CONTACT DETAILS Program Leader

Dr Aviva Burnstock

Address E Mail

Courtauld Institute of Art, Somerset House, Strand, London, WC2R ORN [email protected]

Telephone

+44 (0)20 7848 2635/45

Fax Website address

Programme address

MELBOURNE – UNIVERSITY OF MELBOURNE Information on the MA Cultural Material Conservation is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

MELBOURNE OVERVIEW - MA in Cultural Material Conservation Coursework and Minor Thesis Response to ICOMM-CC Education Group Questionnaire Centre for Cultural Materials Conservation 1. When and why the program was started The academic programs of Centre for Cultural Materials Conservation (CCMC) were established in 2004 to drive interdisciplinary conservation research and bring together conservation expertise for higher degree and professionally focussed training of post-graduate students. Its aims were to deliver robust interdisciplinary teaching and research programs of international standard, a flexible delivery mode and to emphasise the philosophical, intellectual and scientific enquiries relevant to cultural material conservation. The academic programs of CCMC were also established to secure the preservation of the cultural collections of the University and implement best practice strategies. Likewise the relationship is mutually beneficial to the student experience as the collections provide an invaluable research and teaching resource that link the scientific, art historical, anthropological, historical and social research skills base at the University. 2. The type of contemporary artwork covered in the program

Overall the study of contemporary art is embedded in the academic programs of CCMC and is addressed in two ways by firstly engendering flexible, ethical and interdisciplinary modes of enquiry and secondly by focussing on key areas as relevant to each subject covered in the course. For example in: Conservation Professional Practices: The framework for professional judgement and decision-making are developed. It incorporates the diverse viewpoints of stakeholders, which are key skills for the conservation of contemporary art. Introduction to Materials and Techniques (1st year) and Materials and Techniques of Artefacts (2nd year): Each week these two subjects first investigate a material type and then the associated cultural products. As contemporary art crosses all material types, the material issues relating to it are addressed regularly if not weekly. Conservation Materials Chemistry and Analytical Chemistry in Conservation: Again this subject addresses a material type each week with a material science focus and contemporary art is addressed as necessary. Further the course is built around cultural items and taught by a conservator with a PhD in chemistry, therefore there is a strong level of engagement with conservation issues. Technical Examination and Documentation: The emphasis here is on non-destructive testing methods being relevant to contemporary works of art. RESPECT: In his subject students explore issues relating to the preservation of culture and students engage with senior cultural expertise and knowledge, and who lead students through the complexity of issues relating to context, disruption, authenticity, legal standing, development, reinvention, identity and minority status. A component of this course includes practicing artists. Other relevant aspects include the development of literacy across cultures and exploration of the concepts of authority and knowledge by engagement with members of various communities. Preventive Conservation: Deals with the issues surrounding installation art. Conservation Assessment and Treatment 1 and Conservation Assessment and Treatment 2 (double unit): These two subjects are treatment based and access to the Ian Potter Museum of Art’s contemporary art collection allows students to work through the interventive issues, if they exist, in regards to contemporary art. Conservation Minor Thesis: Students select individual topics and research related to contemporary works of art have been selected over the years. Since 2004 topics have included kinetic art, research that explores artists’ intent such as Peter Booth and Stieg Peirson and fluorescence paint (PhD). Further the University of Melbourne has a rigorous ethics procedure in place for the interview of living persons, organizations and companies. Students submit their

research topics and paper work (ethics forms with research aims etc, plain statements, interview questions and consent forms) to an interdisciplinary ethics committee for review, amendment and approval before any oral interviews can be conducted. This process clarifies the research expectations and processes and ensures best practice is in place before students approach living cultural practitioners. Conservation Intensive: This subject consists of a 5-day intensive professional symposium or advanced workshop. The topics covered will reflect those identified by the conservation sector as necessary, which allows for contemporary works of art to be addressed. Conservation Internship: In some instances the institution where the student undertakes a placement in a Conservation Department or practice, the student works with contemporary art, particularly in relation to exhibition preparations and condition reporting. Overall though CCMC aims to build broad based skills that engender flexible, ethical modes of enquiry and best practice strategies. These are applicable to contemporary works of art, and in fact all cultural materials. 3. Does it include conceptual pieces such as installations and performance? If so what approach is taken See above under preventive conservation, materials and techniques, respect. 4. The student: tutor ratio The student to tutor ratio depends on the subject, for example treatment-based subjects have one to five-ten students and professional practice is one up to twentyfive students. 5. Sponsorship/endowments or bursaries that support the program MA students can apply for AusStudy, a commonwealth government study allowance that is usually only available to undergraduate students. However in 2004 CCMC and its students lobbied for an exemption, which was granted. Two senior staff members (one academic and one University conservator) are generously supported by the Russell and Mab Grimwade Miegunyah Fund. Funding is annually applied for and acquitted. 6. Have you already adapted your training programme to reflect some of the new conservation needs being created by contemporary art? If so, what?

As stated above the issues relating to contemporary works of art are embedded in the curriculum, which is constantly under review and changes when necessary. Further CCMC’s course is broad based and the development of critical, interdisciplinary, philosophical, intellectual and scientific modes of enquiry is at its core. The development of narrow areas of expertise is not a core aim of CCMC’s academic programs. 7. How are you realistically intending to modify your training programme over the next few years to reflect these growing needs? See above CCMC is also developing peer group programs between CCMC and the Victorian College of the Arts students. This aims to engender greater awareness of artists practice, materials and production and the professional context. 8. What would you ideally like to do with your training programme (i.e. if resources were not an issue) to respond to these needs? The continued development of skills as outlined in point 6.

MELBOURNE TEMPLATE - MA in Cultural Material Conservation Coursework and Minor Thesis PROGRAM DETAILS: Program name Level

Master of Cultural Material Conservation Coursework and Minor Thesis Masters

Country

Australia

Duration

2 years, Full time or equivalent

Format

Available full time, part time

Campus/Distance learning

On campus with on line components

Language used in teaching

English

Application pre-requisites

The prerequisite for entry into the program is an undergraduate degree in a relevant discipline area

Application procedures

Interview procedures

Number of students accepted PROGRAM CONTENT: Course content

with at least an H2B (70%) level average in relevant subjects. An equivalent of 25 points of university level Chemistry would be considered an advantage. Applicants require an overall English language score of not less that IELTS 7.0, with a minimum score on each band of not less than 6.0. Qualifications for entry must have been acquired within the last ten years preceding the year for which entry is sought. Applications to study are handled centrally by the Graduate School. Applications are made via the SIS online system or application form on 1 November (February intake) and 30 May (July intake) The Selection Committee may conduct interviews and tests and call for referee reports and employer references to elucidate any of the matters referred to above when necessary. 20 students per year

This Masters program provides students with a professional qualification in cultural material conservation. It is the only one of its kind in Australia and the region, combining both the theory and practice of cultural material conservation and delivers a robust interdisciplinary teaching and research programs. The course emphasises the philosophical, intellectual and scientific aspects of cultural material conservation, and draws on the combined expertise of staff of the Centre, the Arts and Science Faculties, and the Ian Potter Museum of Art. The program is aimed at students who wish to undertake specialist training in conservation of cultural material for professional qualification purposes. The course does not necessarily lead to higher degree study, however high achieving students may qualify for entry to research higher degrees. The cultural collections of the University provide an invaluable research and teaching resource. Linking these collections with the scientific research skill base at the University provides a unique student experience.

Structure

Off-campus conservation work

Each year is divided into 2 semesters. For full time students, eight subjects are undertaken per year at 25 points each, totally 100 points for year one. In year one there are 4 compulsory subjects and 4 elective subjects. In the second year is 1 double unit for semester one, 1 intensive subject, 1 compulsory subject, 1 year long minor thesis subject and 1 internship subject to make up 100 points for year two. The course intake is on February (semester one) and July (semester two). 108-542 Conservation Internship In this subject students arrange and undertake a placement in a Conservation Department or practice, which deals directly in the conservation of materials of their specialisation. They work under the guidance of a senior conservator within the work place. Students carry out a set program of conservation research and/or treatment involving complex decision-making and the application of high-level skills. During the internship an academic supervisor is available for consultation and advice.

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no] Yes Breadth subject Learning Cultures for 2/3 level Masters degree [yes or no] Yes. Masters by Research Postgraduate Diploma (Cultural Materials Conservation) Graduate Certificate in Art Authentication Specialist Certificate in Photographic Preservation Chemistry Bridging Course Doctoral degree [yes or no]

Yes. PhD by research.

Other

CONTACT DETAILS Program Marcelle Scott, Academic Programs Coordinator Leader

Address E Mail

Centre for Cultural Materials Conservation The University of Melbourne VIC 3010 [email protected]

Telephone

(+61 3) 8344 0091

Fax

+61 3) 8344 0329

Website address Programm e address

http://www.culturalconservation.unimelb.edu.au/about/thecentre.ht ml

NEW YORK – NEW YORK UNIVERSITY (NYU) Information on the MIAP in Moving Image Archiving and Preservation is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

NYU OVERVIEW - MIAP in Moving Image Archiving and Preservation Programme Description: Begun in 2003, MIAP's two-year program prepares graduates for professional positions in public and private institutions through with comprehensive, internationally focused education in the theories, methods, and practices of moving image archiving, conservation and preservation. Integrated within a renowned

Department of Cinema Studies in the Tisch School of the Arts at New York University, MIAP connects the study of moving image archiving with scholarly investigations into the history, theory and aesthetics of film and media. The faculty to student ratio is in most courses is one faculty to 8 students. In the 1990s, national studies in the US had highlighted the need for a new generation of moving image preservation specialists to meet the growing needs of film and video collections held in archives, libraries, and museums. Art conservation programs as well as archival and library science programs were not integrating these new forms into their more traditionally focused curricula. At the same time, multimedia and the web had come of age and new digital realities changed the way artists and conservators alike carried out their daily work. By the 21st century, it was clear that moving images needing attention ran the gamut from film art classics on obsolete stocks to "born digital" multimedia and animations, from video art on cassettes to complex web sites streaming data grabbed from the Internet – and everything in between. Also, one could not deny the paradigm shifts affecting the conservation of moving images: files replacing analogue media as preservation formats; the aggregation and automation of data about moving images; the growth of centralized digital repositories, and the explosion of digital platforms for distribution to name a few of the shifts. Thus, MIAP offers deep exposure to all forms of moving images and their related sound components – whether existing as magnetic media, optical media, films or digital files. MIAP students study artworks existing as single channel works, multi-channel works, and/or as installations. Beginning with the course Introduction to Moving Image Archiving and Preservation, students learn the history, ethical foundations, conventions and priorities of cultural institutions and related professions, including conservation. Through class projects, internships and specialized courses such as the Culture of Museums, Libraries and Archives and Conservation/Preservation Principles, students gain a deep understanding of the conservation practices of museums, libraries and archives. Students often choose specific areas of concentration for skill development, which may include analyzing time-based media and film in a museum setting. Throughout the two years, students are continually challenged to apply theories and philosophies of audiovisual archiving in real-world situations, drawing on knowledge

gained in such courses as Access to Moving Images, Copyright and Legal Issues, Collection Management, and Film, Video and Digital Preservation. While contemporary art in media or film form is found throughout the entire curriculum, the course Handling Complex Media is particularly focused on these works. Students study multimedia, animations, web site and time-based media installation, and have completed case studies in installation art with the Guggenheim Museum, The Metropolitan Art Museum, and the Museum of Modern Art. Also, all students are required to complete two semester internships and one summer internship. Internships sites involving contemporary art have included the Museum of Modern Art, the Guggenheim Museum, the New York Public Library for the Performing Arts, Anthology Film Archives, and Electronic Arts Intermix. - In their second year, students prepare thesis projects, often working on issues of contemporary art conservation. Topics have included: “Avant-Garde Won’t Wait! Archiving and Preserving Experimental Film”; “Preserving the Ephemeral: An Approach to Time-Based Public Art”; and “Capturing the Artist Interview: Interview Methodologies and Practices for Documenting and Preserving Time-based Media Art”. While MIAP has been formally evaluated and continues to make adapt and improve its curriculum, no specific changes are planned for the immediate future. MIAP is the only program in the US that provides training for moving image professionals while incorporating conservation principles and material science with video, film and digital media in a hands-on environment. Our focus has been on placing our students into post-graduate fellowships in conservation, and working with museums to see the value in hiring our graduates, because in the US and Canada, none of the conservation programs include training with time-based media and film. If funding was not an issue, MIAP would construct more extensive laboratories to enable all students use video, film and digital technology simultaneously, as opposed to the current lab facilities where time must be shared. In addition, funds would be welcome to support research into treatment strategies for magnetic tape, as well as facilities to expand the program’s work with complex computer-based works. In addition, a digital repository to enable students to create digital asset management systems for contemporary artworks would be very useful.

The program is supported by student tuition and receives funds from federal and private sources in the US.

NYU TEMPLATE - MIAP in Moving Image Archiving and Preservation PROGRAM DETAILS: Program name Level

Moving Image Archiving and Preservation (MIAP) Program Masters Degree

Country

USA

Duration

Two years full time or four years part time

Format

Available full or part time

Campus/Distance learning

On campus

Language used in teaching

English

Application pre-requisites

Bachelor’s degree or equivalent.

Application procedures

Submit application form online through NYU’s Tisch School of the Arts admissions office by December 1st. Application must include three letters of recommendation, personal statement, 15-page writing sample, GRE scores, and TOEFL scores (for applicants whose first language isn’t English).

Interview procedures

No interview required

Number of students accepted

8 full-time and 4 part-time

Website address Programme address

http://cinema.tisch.nyu.edu/page/miap.html www.nyu.edu/tisch/preservation

PROGRAM CONTENT: Course content

MIAP is an interdisciplinary program in the

Department of Cinema Studies at NYU’s Tisch School of the Arts, training students to handle new media, video, film in all types of environments and curatorial contexts. The program combines the history and context of moving images with instruction in the technical processes of how media are created, preserved, migrated, and accessed. Distinguished practitioners and scholars teach the curriculum, which also covers collection management, curatorial work, copyright and legal issues, and access to archival holdings. Structure

The MIAP program is 64 credits. Full-time students take 16 credits per semester for 4 semesters or 2 years. Part-time students take 8 credits per semester for 8 semesters of 4 years. By the end of the program, students are required to complete and present a capstone project in the form of a thesis or portfolio.

Off-campus conservation work

All students are required to complete 2 semester-long internships in New York City and one full-time summer internship either in New York City or elsewhere. Internships are selected so that all students get experience in 4 key areas: collection management, restoration/preservation or vendor relations, film, and video. Students also collaborate with local institutions on class projects such as conservation case studies, collection assessments, independent studies, and thesis projects.

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no] No Masters degree [yes or no]

Yes

Doctoral degree [yes or no] Other

No.

CONTACT DETAILS Program Leader Address

Howard Besser, Director c/o Alicia Kubes Moving Image Archiving and Preservation Program

Dept of Cinema Studies, Tisch School of the Arts, NYU 665 Broadway, Rm. 637 New York, NY 10012 E Mail

[email protected]

Telephone

01-1-212-998-1618

Fax

01-1-212-995-4844

Website address Programme address

http://cinema.tisch.nyu.edu/page/miap.html http://www.nyu.edu/tisch/preservation

NEW YORK – NEW YORK UNIVERSITY (NYU) Information on the Conservation of Fine Art MA is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

NYU OVERVIEW – Conservation of Fine Art MA Currently Not Available

NYU TEMPLATE – Conservation of Fine Art MA CONSERVATION EDUCATION & TRAINING PROGRAM PROFILE PROGRAM DETAILS: Program name

Conservation Center, Institute of Fine Arts, New York University

Level

Post Baccalaureate

Country

USA

Duration

Four years, full-time

Format

NYU, Institute of Fine Arts, Conservation Center prepares students for careers in technical study and conservation through a four-year graduate level program that combines practical experience in conservation with art historical, archaeological, curatorial, and scientific studies of the materials and construction of works of art. The Center’s faculty comprises four full-time professors and more than 20 adjunct lecturers, drawn largely from New York City museums and cultural institutions, who offer instruction in all areas of conservation, technical art history and conservation science. Enhancing the educational resources of the program, additional local conservators serve as guest lecturers within the curriculum and supervise independent student projects. The Center also supports the broader community of conservators in the New York area by hosting numerous professional events.

Campus/Distance learning

Courses generally take place at the Conservation Center as well as surrounding institutions having conservation facilities. English

Language used in teaching Application pre-requisites

In addition to the requirements for admission to NYU's Graduate School of Arts and Science, a candidate for the Institute of Fine Arts should have an excellent background in the liberal arts, normally including at least four courses of undergraduate art history. The GRE is required of all applicants. A strong application will include a focused personal statement, academic letters of recommendation that speak to the applicant's research and writing skills, and reading knowledge of both French and German or the clear intent to obtain such ability. One writing sample is required and those applicants who already hold an MA in art history must provide a copy of their thesis or another research paper to be read by an appropriate member of the IFA faculty. In addition, applicants to the Conservation Center must also take a minimum of four courses in laboratory science at the college level with grades of B or better (of which one course must be in organic chemistry). Please note that any courses taken in fulfillment of the program requirements must be from an accredited institution on a grade basis and not pass-fail. Prerequisite coursework may be completed up to and including the spring semester prior to beginning study

at the Center. Candidates for the Master's Degree in art history at the Institute may apply for transfer into the conservation program after completing the requisite science and studio preparation. Students admitted to the art history program may begin in either fall or spring term, but those entering the conservation program must begin in fall term. Applications are processed by NYU's Graduate School of Arts and Science Office of Admissions, [email protected], (212) 998-8050. You must access and file your application directly at http://www.nyu.edu/gsas/. Application procedures

Interview procedures

Number of students accepted

PROGRAM CONTENT: Course content

Applications are processed by NYU's Graduate School of Arts and Science Office of Admissions, [email protected], (212) 998-8050. You must access and file your application directly at http://www.nyu.edu/gsas/ Qualified applicants to the Conservation Center are extended an invitation to interview with the admissions committee, comprised of full and part time faculty. At the interview, applicants must present evidence of their familiarity of with a range of artists’ materials and techniques through a portfolio of relevant studio arts and conservation work. 8 per academic year

The Center’s curriculum is rooted, in George Stout’s words, on a “ three-legged stool” of science, art history, and practice. Time has proven it to be sound and, at the same time, responsive to changes in the field. NYU is alone among North American graduate programs in conservation to confer both a Master of Arts in art history and an Advanced Certificate in conservation. The emphasis on art history is an indication of the importance we attach to providing students with social, historical, and theoretical contexts for the objects they will treat. Students devote a significant amount of time to becoming familiar with the literature in several areas of art history, developing

reading ability in French and German, writing clear and scholarly prose, and preparing and delivering seminar presentations. Close interaction between graduate students and faculty in related fields such as art and archaeology, curatorial studies, museum studies and fine arts is highly encouraged, as is contact with local art professionals and scientists. Structure

Core Curriculum - Download Program Outline [PDF] Regardless of future specialization, all students enrolled in the conservation program follow a mandatory two-year cycle of required or “core” courses specifically designed to introduce students to the fundamentals of materials science, conservation, and preventive care.

Year One The first year of conservation coursework introduces students to an understanding of materials and technology, with a heavy emphasis on direct observation. The courses are designed to complement one another and include lectures as well as laboratory instruction. Courses include: Technology and Structure of Works of Art I and II is a two-semester course that serves as a general introduction to the materials and methods used in the fabrication of works of art, and the alterations resulting from mechanical and chemical forces as art objects age. Students learn to identify materials, techniques, and methodologies used by artists and address issues of provenance, dating, cultural values, and subsequent alterations. Materials Science of Art and Archaeology I and II, taken simultaneously with Technology and Structure of Art I and II, introduces students to the chemical composition and identification of materials used in the construction and conservation of works of art, and to the general principles of materials science that govern their response to their environment. Principles of Conservation, taken in the spring semester, presents students with an overview of the

history of the profession, as well as the principles of ethics and conservation documentation. Through case studies and examples of current methodologies for approaching examination and treatment, students learn the fundamentals of adhesion, consolidation, structural support, cleaning, and loss compensation. Year Two In the second year, students investigate how materials change, with an emphasis on sources of deterioration, recognizing and analyzing deterioration, and documentation. Required courses in this year include: Instrumental Analysis I and II is a two-semester course that introduces students to the instrumental methods of examination and analysis that find frequent use in conservation. Lectures on specific techniques are accompanied by hands-on demonstrations and laboratory exercises aimed toward developing student capability for independent use. Preventive Conservation is a one-semester course modeled after the case study format used in other graduate programs in areas such as law or medicine. It fosters in students a deeper understanding of the role of the environment factors, including temperature and humidity, atmospheric pollutants, biodeterioration, and vibration in the processes of deterioration and change of cultural property. Students consider ethical constraints and risk management as they devise sustainable preventive conservation options that mitigate damage to cultural property. Specialized Curriculum In the second year of study, students also begin coursework in specialized areas of study such as paintings, paper, photographs, objects, and textiles, as well as a sub-specialty in modern and contemporary art. Formal courses in each of these subjects are offered at the Conservation Center and at area museums in New York City. Students can also pursue independent research projects in areas of particular interest to them at museums or private laboratories. These projects are undertaken with prior approval of the Chairman and require supervision by faculty and/or outside consultants. Past projects have included: the analysis of Donald Judd sculptures at the Guggenheim Museum, an investigation of inks used by Andy

Warhol at the Museum of Modern Art, the installation of the tapestry exhibition at the Metropolitan Museum of Art, analysis of finishes used on photographs at the Museum of Modern Art, the treatment of Pomo ear ornaments at the National Museum of the American Indian, and the treatment of a 15th-century Spanish altarpiece at The Cloisters, The Metropolitan Museum of Art. Third Year During the third year, students continue upper-level conservation coursework in their area of concentration and complete any remaining requirements for the MA degree in art history. Simultaneously, they work with their advisor and the Chairman to make arrangements for a fourth-year internship. Prior to the fourth year of study, all conservation students must complete one science elective. Fourth Year The fourth year is spent completing a nine month internship in a conservation establishment in the United States or abroad that is selected to provide the best possible training in the student’s area of concentration.

Off-campus conservation work

YES

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no] NO Masters degree [yes or no] Doctoral degree [yes or no] Other

CONTACT DETAILS Program Leader

YES YES in allied academic disciplines such as Art History, Archaeology, Material Science Advanced Certificate in Conservation of Historic and Artistic Artifacts

Michele Marincola, Chair

Address

14 East 78th Street New York, NY 10075

E Mail

[email protected]

Telephone

212 992-5848

Fax

212 992-5851

Website address

http://www.nyu.edu/gsas/dept/fineart/conservation/program.htm

Programme address

New York University Institute of Fine Arts Conservation Center

14 East 78th Street New York, NY 10075

NEW YORK – NEW YORK UNIVERSITY (NYU) Information on the MA in art history and Advanced Certificate in conservation is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

NYU OVERVIEW – MA in art history and Advanced Certificate in conservation The Conservation Center of the Institute of Fine Arts is dedicated to the study of the technology and conservation of works of art and historic artifacts. It prepares students for careers in conservation through a four-year program that combines practical experience in conservation with historical, archaeological, curatorial, and scientific studies of the materials and construction of works of art. Students undertake research projects, laboratory work, seminars, and gain intensive conservation experience through advanced fieldwork and the Internship. A sampling of our modern/contemporary course offerings: Examination & Conservation of Modern & Contemporary Paintings (instructor: Suzanne Siano) The conservation of modern and contemporary paintings requires a set of skills that are different from those learned in studying Old Master pictures. Students in this course will learn how to examine a twentieth- or twenty-first-century painting and to write condition reports and treatment proposals; recognize the problems that are common to this period; become familiar with the materials used to make these works and the range of options to consolidate, clean, fill, and retouch them; understand the roles of the living artist in conservation and of the conservator in contemporary art; and learn about special problems such as colorfield paintings, oversized pictures, raw canvas, devarnishing, and condition problems arising from inherent vice and frequent handling. In addition to class projects, each student is assigned a painting for treatment within the semester.

Modern Materials & Media in Contemporary Art (instructor: Christine Frohnert) The preservation of artworks containing modern materials and technology-based components is of increasing concern to the art conservation profession. Challenges are posed by the preservation of the works of art themselves, their artistic intent and due to the artworks very specific relationship to time, space and concept. The course will offer lectures introducing modern materials and technology-based media such as Kinetic, Light-Kinetic and Installation Art. In addition, each student is assigned an object for examination, research, treatment and documentation. Course projects will be selected based on the individual students‘ interest. Subjectivity & the Preservation of Contemporary Art (instructor: Carol Stringari)

In recent years, the question of what should be preserved has become an issue with a multiplicity of solutions that challenge our notions of preservation and historical integrity. The goal of this seminar is to chart the course of a complex or conceptual contemporary artwork—using specific case studies chosen by students in conjunction with the instructor—from idea to conception, exhibition, documentation, and long-term preservation. The course includes an analysis of these stages and considers the perception of a work by various parties including the artist, spectators, critics, dealers, curators, and conservators. Through this exercise, the course elucidates the difficult decisions one makes when dealing with an artwork‘s power to transform itself over time and the decisions a conservator must make about preserving cultural patrimony. Complicated questions and differing perspectives in perception are discussed. What is the ―medium‖? How does one accurately interpret its concept, and from which perspective? How does an artist‘s attitude change over the years with various iterations of a work? Should spectators, the market, or an artist‘s estate influence our decisions about preservation? For comparison, the course will examine works from the 1970s to the present, spanning a range of media. A presentation and paper related to a case will be required of each student to complete the course. Some classes will be held at galleries, artist studios, or museums. Conservation of Modern & Contemporary Sculpture (coordinator: Lynda Zycherman) This course combines hands-on conservation with laboratory exercises, research, and lectures on conserving modern and contemporary sculpture. The range of works includes plastics, modern paints, modern alloys, time-based media, installations, and ephemera. Potential projects include surveys, research, and treatment. Course projects are selected based on individual student interest.

NYU TEMPLATE – MA in art history and Advanced Certificate in conservation CONSERVATION EDUCATION & TRAINING PROGRAM PROFILE PROGRAM DETAILS: Program name Level

Conservation Center, Institute of Fine Arts, New York University MA in art history and Advanced Certificate in conservation Graduate

Country

US

Duration

Four years

Format

Full time

Campus/Distance learning

On campus

Language used in teaching

English

Application pre-requisites

BA, BS, BFA degree; minimum of four undergraduate art history courses above and beyond the survey and introductory level; minimum of four undergraduate laboratory sciences courses, of which one must be in organic chemistry; reading knowledge of one foreign language; GRE and TOEFL (if applicable) Submit application for online at http://www.nyu.edu/gsas/. Applications are due in mid-December. Interviews take place in late March/early April. Students must present a portfolio of studio work and any relevant conservation work. Maximum of eight students per academic year.

Application procedures Interview procedures Number of students accepted

PROGRAM CONTENT: Course content

The Conservation Center of the Institute of Fine Arts is dedicated to the study of the technology and conservation of works of art and historic artifacts. It prepares students for careers in conservation through a four-year program that combines practical experience in conservation with historical, archaeological, curatorial, and scientific studies of the materials

Structure

Off-campus conservation work

and construction of works of art. Students undertake research projects, laboratory work, seminars, and gain intensive conservation experience through advanced fieldwork and the Internship. In their second and third years of study, students may chose Individualized Instruction courses, designed specifically around a student‘s area of interest, and work in area museums or private conservation studios under the direct supervision of a conservator.

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no] No Masters degree [yes or no] Doctoral degree [yes or no]

Yes No

Other

CONTACT DETAILS Program Leader Address

Hannelore Roemich

E Mail

The Conservation Center Institute of Fine Arts, NYU 14 East 78th Street New York, NY 10075 [email protected]

Telephone

(212) 992-5890

Fax

(212) 992-5851

Website address

http://www.ifa.nyu.edu

Programme address

http://www.nyu.edu/gsas/dept/fineart/conservation/index.htm

ROME – L'ISTITUTO SUPERIORE PER LA CONSERVAZIONE ED IL RESTAURO Information on the UG in Conservation Training of Easel Paintings is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

ROME OVERVIEW - UG in Conservation Training of Easel Paintings The ICR (now recalled ISCR) was born in 1939, based on a project developed by Giulio Carlo Argan and Cesare Brandi (the Institute’s first director), to ensure that restoration activities would be carried out on a scientific basis and to unify the methods applied to works of art and archaeological finds. The contemporary art conservation training has been started in 1995 up to 2001, as part of the old courses (three years plus one year of specialization), during the conservation lab of canvas painting, introducing the new techniques and the adapted conservation treatments. Starting from the new course of the school (four years), in the 1998, it became a course completely dedicated to the contemporary materials as industrial painting binders and plastic, their technology, degradation, conservation treatments and research. In the next new re-organization on five years, it will continue in the same way. It considers conceptual pieces such installations and performance, as part of the contemporary artistic expressions, also if they have never treated directly. The aim of the training is overall to acquire knowledge on the new materials compared to the traditional technique adapting the conservation possibilities to the new needs. On the web site, training section, you can find information about the organization of the school and its programs. It is possible for the foreign conservator or conservation students, to be involved in the courses for three months for a stage. The Director of the sector of the conservation of the contemporary materials is Grazia De Cesare, gdecesare.icr@UGit, [email protected] The Director of [email protected]

the Lab

is Paola

Iazurlo,

[email protected],

ROME TEMPLATE - UG in Conservation Training of Easel Paintings PROGRAM DETAILS: Program Conservation training of easel painting name Level

undergraduate

Country

Italy

Duration

4 years up to 2009, 5 (new training course)

Format

Full time

Campus/Dist ance learning

On campus

Language used in teaching

Italian

Application prerequisites

High school diploma

Application procedures

Submit application form

Interview procedures

http://iscr.beniculturali.it/index.php?option=com_content&task=vie w&id=5&Itemid=10 Two practical-aptitude tests (drawing, tratteggio) and an oral examination (artistic techniques and art history) About 15 for this sector

Number of students accepted

PROGRAM CONTENT: Course content

Structure

Off-campus conservation work

Technology of the materials of the artistic techniques, their degradation and conservation treatments and preventive conservation (history of art, conservation, chemistry, physic, biology) I- II year wood polychrome, III canvas painting, IV synthetic and plastic materials, V preventive conservation and administrative laws Worksite activity (in museum, churches, archaeological sites etc.)

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no] Yes, architectural sector (wall painting, mosaic, stone), archaeological sector (ceramic, glass, metal), textile Masters degree [yes or no] Doctoral degree [yes or no] Other

CONTACT DETAILS Program Dr Massimo Bonelli, director of the school Leader Address

Via di S. Michele 22 Roma 00153 Roma

E Mail

[email protected]

Telephon e

0039 06 48896300

Fax

0039 06-5886112

Website address

http://www.icr.beniculturali.it/

Program me address

http://iscr.beniculturali.it/index.php?option=com_content&task=view&i d=6&Itemid=11

STUTTGART – STUTTGART STATE ACADEMY OF ART & DESIGN Information on the MA in Conservation of New Media and Digital Information is provided as follows: An OVERVIEW

A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

STUTTGART OVERVIEW - MA in Conservation of New Media and Digital Information • When and why the program was started The program was started in 2006, based on a grant from the State Culture Foundation Baden-Wuerttemberg. The reasons to install it at the “Staatliche Akademie der Bildenden Künste” in Stuttgart were manifold: The academy has academic programs for fine art, art teachers, industrial, graphic and communication designers, architects and conservators. It has excellent facilities for printmaking, analogue and digital photography, video production, and various well-equipped workshops for metal, glass and wood working and conservation. Its conservation programs are among the oldest in Germany, dating back to 1948. The academy already has four well-established conservation programs: Conservation of Paintings and Polychrome Sculptures; Conservation and Restoration of Archaeological, Ethnographical and Craft Objects; Conservation and Restoration of Murals and Polychrome Stone, and Conservation and Restoration of Works of Art on Paper, Archives- and Library Materials. It is this department’s broad focus on and long-term experience with fine art, library as well as archival objects, and its close relationships to regional, state, national and international institutions in these fields, which convinced the founders and the state government to start the initiative for the new program from here. The program however does not provide a degree in conservation/restoration, but concentrates on preventive preservation and project management. It was agreed by all people involved in the planning and evaluation of the program that the current need is more towards preservation managers for museums, libraries and archives with a rather general approach, than towards specialized conservators. • The type of contemporary artwork covered in the program The program covers the preservation of analogue and digital photographs, digital prints, analogue and digital video records and digital information. A good example would be the conservation of the Nam June Paik video installation “Two-Way Communication” (1996) on the academy’s campus, consisting of 90 monitors, various electronic parts and a personal computer. Other examples are preservation

plans for medium and large photographic or video collections in public and private archives. • Does it include conceptual pieces such as installations and performance? If so what approach is taken It does include installation art, as long as photography or time-based media is involved. The focus then is on thorough documentation, compilation of technical and other metadata, identification of the objects’ life expectancy, art historical evaluation, preservation planning and long-term preservation of this information. • The student:tutor ratio With approx. 6-12 students per year and 15 - 20 teachers and (guest) lecturers per year, the student-teacher ratio is about 1:1,5. • Sponsorship/endowments or bursaries that support the program The academy has no financial aid program or stipends to offer. There is some flexibility for the payment of the program’s tuition fee of 1,500 Euros per semester.

STUTTGART TEMPLATE - MA in Conservation of New Media and Digital Information PROGRAM DETAILS: Program name

Conservation of New Media and Digital Information MA

Level

Masters Degree

Country

Germany

Duration

Two years full time

Format

Available full time only

Campus/Distance learning

On campus

Language used in teaching

German, some classes in English

Application pre-requisites

- Bachelor of Arts degree (or equivalent) in a field relevant to the program’s objectives;

Number of students accepted

- successfully passed test/interview, and - prove of sufficient English and German language skills Submit application form online. Application deadline is June 15, 2010. Earlier dates for foreign applicants apply. Interview in Stuttgart. For foreign applicants, an interview by telephone or Skype can be arranged. 8-10

Website address

http://www.abk-stuttgart.de

Programme address

http://www.mediaconservation.org

Application procedures

Interview procedures

PROGRAM CONTENT: Course content

Structure

Off-campus conservation work

The long term preservation of analogue and digital photographs, video recordings and digital archival cultural heritage. The students will not only acquire technological insight, but they will also use real-world projects at partner institutions in Germany and elsewhere, in order to prepare for their field of activity. Students will practice interdisciplinarity, internationality and communication to specialists –a prerequisite for successful problem solving strategies and a crucial skill required for the tight job market in the preservation field. The curriculum's structure was chosen to enable a heterogeneous group of students with different preliminary knowledge to compensate for deficiencies and to support special interest. All modules are rated according to the European Credit Transfer System (120 ECTS points). During the third semester students engage with two five week projects in a partner institution or at the academy.

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no] No Masters degree [yes or no]

Yes

Doctoral degree [yes or no] Other

CONTACT DETAILS Program Leader

Optional, after the program

Prof. Dr. Hans Dieter Huber

Address

Stuttgart State Academy of Art and Design Am Weißenhof 1 70191 Stuttgart Germany

E Mail

[email protected]

Telephone

+49 (0)711-28440-322; -323; -253

Fax

+49 (0)711-28440-225

Website address

http://www.abk-stuttgart.de

Programme address

http://www.mediaconservation.org

TORINO – UNIVERSITÀ DEGLI STUDI DI TORINO Information on the MA Programme in Art Conservation is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

TORINO OVERVIEW - MA in Art Conservation Descriptive overview The program started this year (2009-2010) with the students of the fourth year of the course of conservation and restoration in Venaria Reale.

The type of contemporary art works covered in the program are: canvas paintings (acrylic and enamel), polyurethane foams (rigids and flexible), installations and sculptures, modern materials in general, new media art. Conceptual pieces as installation and performances are included, working in situ with the basis of “inside installation” procedures (Es. Kiefer towers reinstallation in Hangar Bicocca in Milano) Training program is adapted to new conservation needs as artist interviews, documentation, theory of restoration. In the next few years the course will develop to respond more to the growing needs of documentation and knowledge of the artist intent and use of materials. To respond to these needs the program will develop INCCA suggestions and procedures, in order to cover the need of information about Italian contemporary art techniques, spreading it through different institutions connected (museums, restoration programs, private collections). We would like to prepare specialized and competent restorers enabled to understand the meaning of these works of art. The restoration intent is to develop a minimal approach which can be effective for the conservation without any risk, allowing a longer life-span for the works. The general comprehension of the problem starts with the understanding of the crisis of duration of contemporary art, addressing to the choices of different countries in this field to face the problem. Subsequent meetings and conferences allowed to participate to the intense debate that opening a new approach to this topic. Contact with INCCA is stressed as a continuous link, sharing experiences between professionals, with the study of writings of artists and interviews basilar to the understanding of the meaning of the works and the use of new materials. Visiting the studies of the artists and collecting the materials used is an important source of information. Causes of decay are examined, chemical, physical, and biological, together with previous not pertinent interventions and the lack of maintenance and preventive work. Transportation and packaging are important preventive topics together with of a new approach which doesn’t pretend the perfection of the works which are often changed in time. Evolution of the techniques in contemporary art 

 



Nineteenth century experimentation’s as a basis of understanding contemporary art The role of avant-garde, the enlargement of the field of materials The use of poor materials, and the desired decay in some of the contemporary works Development of synthetic materials and pigments starting from the fifties



  



Use of cement, glass, cardboard, electric light as a realisation of avant-garde postulations in the sixties Conceptual art and performance, ephemeral art: problems of documentation The special study of installations, kinetic works, video art, interactive art The problems of acrylic and enamel paints, evolution of a new paint and its problems. Alterations due to artistic intent: holes, tears, burnings, oxidations.

Specific information about contemporary art materials   





 



Stretchers, evolution and materials, new methods of mounting canvases Textile supports, natural and synthetic, their behaviour Rigid supports as cardboard, wood, plywood, paper, plastic, glass, metals, polystyrene and fibreglass supports Grounds from the traditional to the new ones, with materials included as sand, and new experimentations. Pigments and colours. From the discoveries of XIX the century to the development of XXth New trademark for art supplies Acrylics and enamels from the first experimentations to the general use. The recent studies about film formation and possible decay. Plastic materials, transparent and opaque, resin and additives utilised for the emulsions.

Particular case  Monochrome paintings  Paper supports with different paint techniques  Tempera works and loose paint application  Tridimensional works, sculpture in different materials, as bronze, iron (rusted and painted) steel, Plexiglas, glass, laminates, cardboard, eternit  Organic materials conservation with particular stress on biological treatments and possible substitutions  Conservation of installations (documentation)  Moving and packaging of works, great formats. Organic materials utilised in conservation Characteristics and commercial brands. Criteria for the choices, different approaches, synthetic products, new products (Funori, Agar-Agar), use of Laser, Cyclododecane.

Theory of restoration

Continuity of the application of Cesare Brandi theory, different schools compared, possible errors in the past. Authenticity, substitutions, reconstructions. Traditional approaches (Italian lining, Colla di pasta/vs synthetic lining approach). Diagnostic Identification of typical alterations of contemporary works of art The role of environment, vandalism, wrong interventions.  Chemical alteration: depolymerisation, changing of varnishes and plastics  Physical alteration: creep phenomena, separations of layers, powdering and oxidation phenomena  Biological alteration: fungi and bacteria, insects, possible systems of control  Wrong restoration procedures, shrinking of canvases, hot burnts of the paint, flattening of the pictorial layers, varnishing of arid dry surfaces  Early cracking of the paint with different effects on the surface. Study of characteristics due to the original technique. Preventive conservation  Correct storage  Correct moving  Climatization, filtering of powders  Need for preventive conservation in general  Correct mounting of works  Investigation on structure and layers of paint: precocious signs of alteration  Biological growth: study and control  Database and data collect procedures, restoration documentation and files. Treatments  Risk assessment/proposal for the interventions  Consolidation with Beva 371, Plextol, Acquazol, Funori treatment  Cleaning: water solutions, organic solvents, supporting gels, minimum polarity approach  Inpainting, materials, reversibility  Lining: options, refusal, alternative methods  Varnishing: traditional and innovative, varnish decay and removal, spray techniques  Packaging: materials and techniques  Transportation, procedures and materials  Storage prescriptions, solutions  Documentation: historic research, documents, interviews  Scientific studies, analysis (not destructive, video microscope)  Interdisciplinary approach  Restoration examples, visit to the collections



Execution of proposal and documentation examples in different fields (wood, metal, paper, canvas, polimateric)

TORINO TEMPLATE - MA in Art Conservation PROGRAM DETAILS: Program name Level

Università degli Studi di Torino- in convenzione con Centro Conservazione e Restauro La Venaria Reale Advanced, Laurea Magistrale

Country

Italy

Duration

Two years

Format

Contemporary art conservation

Campus/Distance learning

campus

Language used in teaching

Italian

Application pre-requisites

Laurea triennale

Application procedures

test

Interview procedures

No interview

Number of students accepted

No limit

PROGRAM CONTENT: Course content

The program open to the contemporary art conservation with the aim of practical experience in various field as canvas acrylic and enamel paintings, polyurethane foams and installations. The work is in the laboratory and in the field as museum’s collection and institutions, with the support of the scientific laboratories of the centre testing and applying conservation materials. Theory of restoration applied to contemporary art conservation is developed during the lessons, with the

study of evolution of artistic techniques and new materials used by artists in XX century and contemporary art. Structure

Each year is divided into two semester; the work is divided into practice and theory and the course value is of….credit.

Off-campus conservation work

Students are encourage to work in the field with special projects with the museums and institutions during the course. The possibility of finding stages and future work in the museums is examined and developed for each student individually.

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no] See sito web Masters degree [yes or no] Doctoral degree [yes or no] Other

CONTACT DETAILS Program Oscar Chiantore / Antonio Rava Leader Address

Via XX Settembre 12 – 10078 Venaria Reale (TO)

E Mail

[email protected]

Telephone

011 4993027

Fax

011 4993026

Website address

http://conservazionerestauro.campusnet.unito.it

Programm e address

http://conservazionerestauro.campusnet.unito.it/cgi_bin/corsi.pl/sho w? id=a800;sort=DEFAULT; search=;hits=

VALENCIA – DEPARTAMENTO DE CONSERVACIÓN Y RESTAURACIÓN DE BIENES CULTURALES (UNIVERSIDAD POLITÉCNICA DE VALENCIA) Information on the MA in Conservation-Restoration of Cultural Heritage is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

VALENCIA OVERVIEW - MA in Conservation-Restoration of Cultural Heritage VALENCIA OVERVIEW- MA in Conservation-Restoration of Cultural Heritage DEPARTAMENTO DE CONSERVACIÓN Y RESTAURACIÓN DE BIENES CULTURALES (UNIVERSIDAD POLITÉCNICA DE VALENCIA) 1. When and why the program was started The Universidad Politécnica de Valencia (UPV) is a young institution that dates back to the early 70s although some of its schools, such as the Faculty of Fine Arts, are over a hundred years old. What is today known as the Universidad Politécnica de Valencia was started in the academic year 1968-1969, when the Higher Polytechnic Institute of Valencia was created. But it is not until 1971, when our institution becomes the Polytechnic University of Valencia. Likewise, in 1978, the Faculty of Fine Arts is annexed to the UPV. Of particular interest is the fact that ours is the only Fine Arts faculty in Spain in a technological university which is extremely advantageous for our field given the possibilities of close collaboration with more than 40 different science and engineering departments at UPV. Set up in 1990, the Departamento de Conservación y Restauración de Bienes Culturales (dCRBC) of the Faculty of Fine Arts is the only department in the Spanish university system devoted specifically to the conservation and restoration of cultural heritage. It offers three different streams: Conservation and restoration of easel paintings (canvases, panels, polychromed sculpture and altarpieces), conservation and restoration of wall paintings and conservation and restoration of sculpture and archaeological and ethnographical objects. The dCRBC has presently 20 professors, 10 lecturers and 1assistant that work both teaching at the dCRBC and researching at the Instituto Universitario de Restauración del Patrimonio (IRP) at UPV. Additionally, we count on 20 national and international (guest) specialists that annually give seminars in the MA Program as well as several predoctoral and postdoctoral research interns. Also, both the

dCRBC and the IRP offer annually a huge variety of seminars, workshops, lectures and courses devoted to complement the regular academic offer for both students and professionals One of the actions undertaken by the UPV within the framework of the new European Higher Education Area is the implementation of its Official Postgraduate Programmes. The dCRBC currently offers the postgraduated program entitled ―Science and Conservation of Historic and Artistic Heritage‖ which leads to the following two qualifications: • MA in Conservation and Restoration of Cultural Heritage (120 credits): It is an official university degree of the Ministry of Education. Valid throughout the whole the EU, it has been adapted to meet European Higher Education Area requirements. The obtainment of the Master‘s degree qualifies students to be enrolled into the PhD program in Conservation and Restoration of Historic and Artistic Heritage of the Universidad Politécnica de Valencia. • PhD in Conservation and Restoration of Historic and Artistic Heritage, that holds the Quality Award from the Spanish Ministry of Culture, Education and Science since 2004. Moreover, the new BA Program in Conservation and Restoration of Cultural Heritage (240 credits) -an adapted version of the current Undergraduate Program on Conservation to meet the European standards- is currently under review by the Ministry of Education and it is expected to be implemented in September 2010. 2. The type of contemporary artwork covered in the program Contemporary artworks covered in the program are diverse ranging from paintings to installations but excluding works of art on paper and sculpture (in its traditional sense even if has been recently produced). 3. Structure of the program in contemporary and modern materials The fact that the subjects offered on contemporary and modern materials are not compulsory turns into a heterogeneous groups of students with different conservation backgrounds. Students work on actual objects from different museums/galleries/institutions as well as well as from individuals. There is also a narrow relationship with contemporary artists, and a project on interviews and documentation of Spanish well know contemporary artists‘ has been also on going for the last years.

Core courses BA Program: -Conservation and Restoration of Contemporary Art (12cr) (not compulsory) MA Program -Conservation and restoration of unconventional art: treatments and criteria (2 crd). (not compulsory) - New materials in contemporary wall paintings and their conservation (3crd) (not compulsory) -Conservation of contemporary paintings (3 crd) (not compulsory) Complementary courses BA program -Chemistry and Physics Principles in Conservation –Painting materials (12 crd). (compulsory) -Chemistry and Physics Principles in Conservation –Other materials (12 crd). (compulsory) -Principles of conservation (12 crd). (not compulsory) MA Program -Chemistry and Physics Principles in Conservation –Painting materials (12 crd). (not compulsory) -Chemistry and Physics Principles in Conservation –Other materials (12 crd). (not compulsory) -Chemistry of pollutants and their interactions with outdoor and indoor works of art (2 crd). (not compulsory) -Environmental monitoring (3 crd). (not compulsory) -Legal issues in heritage conservation ( 2 crd) (not compulsory) -Documentation and imaging of cultural heritage (6 crd.) (not compulsory)

-Contemporary theory on conservation (3 cr). (not compulsory)

3. Does it include conceptual pieces such as installations and performance? If so, what approach is taken? Yes. Basically a theoretical approach due to specific limitations we have. 4. The student: tutor ratio. Depends on the subject and the degree. BA Program: ± 30 students MA Program: ± 25 students 4. Sponsorship/endowments or bursaries that support the program The program receives funds from public sources (central and regional) in Spain and is supported by student tuition (fees for Official MA Program in public Univeristies are 27 euros/crd. aprox.). Students can apply for several government grants and study allowances: BA Program Students Study allowance from the Ministry Education (Becas Generales de Estudio del Ministerio de Educación) Study allowance from the Regional Government (Beca General de Estudio de la Generalitat Valenciana) MA Program Students ALBAN Grants (For students from South America) ALFA Grants (Regional cooperation Program between the EU and South America) Grants from the Ministerio de Asuntos Exteriores – Fundación Carolina. Grants from the Ministerio de Asuntos Exteriores – Agencia Española de Cooperación Internacional. 4-years-predoctoral research grants from the Regional Government (Becas de Formación de Personal Investigador Generalitat Valenciana). 4-years- predoctoral research grants from the Ministry of Science and Innovation (Becas de Formación de Personal Investigador Ministerio de Ciencia e Innovación). 4-years- predoctoral research grants from the Ministry Education (Becas de Formación de Profesorado Universitario Ministerio Educación). Ayuda Social Universidad Politécnica de Valencia. Staff members Foreign Specialists o Mobility grants for foreign specialists of the Ministry of Education o Fulbright Senior Specialist Additional support is provided by the different research and development projects that are being carried out by the faculty of the dCRBC and IRP.

DISCUSSION Have you already adapted your training programme to reflect some of the new conservation needs being created by modern and contemporary art? If so, how? And what type of art? In the last ten years, the dCRBC training program in conservation has been progressively adapting itself to the real needs the conservation and restoration of contemporary art implies in terms of training specialists. For example, next course the new BA Program will include a 12-credit course entitled Conservation and Restoration of Contemporary Art. It is expected that students will take this subject in their last term, which is very convenient and appropriate from a methodological and academic perspective given the

need of prior knowledge of conservation materials and methods, in order to gain a deep understanding of the specifics of conserving contemporary works of art. This course is the result of the one currently existing in the undergraduate program (and that will expire the moment the new BA is implemented). Since 2002-2003, the contents of this course have been evolving as research at an international level was providing more and more specialized studies and literature that contributed to expand the knowledge of specific studio cases, conservation treatments and criteria. As an example, INCCA website is a powerful and reference tool constantly used to update students and faculty with the latest works done by other professionals working in this field. Additionally, this course is complemented by other courses offered in the MA Program offered by the dCRBC: -Rosario Llamas-Pacheco, Professor at the dCRBC, implemented and teaches the course Conservation and restoration of unconventional art: treatments and criteria (2 crd), offered annually since 2003. - Mercedes Sánchez Pons, Professor at the dCRBC, implemented and teaches the course New materials in contemporary wall paintings and their conservation (3crd), offered annually since 2003. Finally, several research projects on modern and contemporary art had recently resulted in different MA and PhD Thesis within these last years: PhD THESIS:  Moreira-Teixeira, J.C., La Creación Contemporánea Además De La Materialidad. Los Artistas Y Los Límites En La Conservación Y Restauración De Arte Contemporáneo. 17/10/09 (Dir. Llamas-Pacheco)  Soraluze-Herrera, . I., La Conservación De Los Objetivos Artísticos Contemporáneos: Degradaciones, Criterios De Actuación Y Tratamientos De Restauración. 06/10/06 (Dir. Llamas-Pacheco)  Ramos De Oliveira-Soares, M. L., La Preservación Del Efímero. 05/05/06 (Dir. Llamas-Pacheco)

MA THESIS (Directed by Dr. Llamas-Pacheco alone or in collaboration with other DCRBC professors)  Torrente-Casado, A., Estudio por Envejecimiento Acelerado del Uso del Secativo de Cobalto: Aplicación en la Pintura Al Óleo Actual.18/12/09  Chico-Selvi, E., Idea y Materia en el Arte Monocromo y de Superfice Plana de Color. Conservación y Restauración.16/12/09 Llamas Pacheco, Rosario  Zornoza-Indart, A., Estudio Técnico y Compositivo de Sustancias Filmógenas Usadas Como Recubrimientos en Obras Contemporáneas. Conservación en Relación Al Concepto de la Obra.16/12/09  Montolio-Debón, M. P., Los Híbridos: Aportación Al Arte Contemporáneo. Estudio de la Materia, Idea y Factores Discrepantes Que Afectan a Su Conservación y Restauración.19/12/08  Noguera-Navarro, P. M., Conservación y Restauración de Videoarte.19/12/08  Solbes-García, Á., Conservación y Restauración de la Obra de Equipo Crónica.18/12/08  Alfonso-Muñoz, M., Conservación Preventiva en el Instituto Valenciano de Arte Moderno. Aplicación a Casos Reales de Intervención.26/09/07  Espejo-Merchán, P., La Realidad Museográfica en el Instituto Valenciano de Arte Moderno. 26/09/07

How are you realistically intending to modify your training program over the next few years to reflect these growing needs? o o

Increasing cooperation with institutions and/or museums. Increasing international exchange of students and staff.

o o o

Strengthening cooperation with scientists. Strengthening multidisciplinary approaches / training by cooperative work among different specialists / specializations. Increasingly incorporating the range of types of artworks and complex materials covered.

What would you ideally like to do with your training programme (i.e. if resources were not an issue) to respond to these needs? Resources are an issue, obviously, but time also. The design of academic courses (and the design of teaching guides as well) has always technical and time limitations when defining the exact learning outcomes expected from students (what they are expected to know, understand and be able to do) and workload (how much time do these students typically will need to achieve those learning outcomes). For this reason - and despite we do know that given the variety of materials and concepts is so complex covering all theoretical and practical issues affecting the conservation of contemporary art- one of the crucial aspects to consider is the credit content and distribution (and consequently, the balance between on-campus and off-campus learning). The course offered at the UPV is – as it is by now- a condensed version of a bigger (ideal) program intended to provide a general overview of three main aspects: the ethics concerning the conservation of contemporary art, and -at a more practical level- both the technical knowledge and skills to understand and diagnose the real conservation needs prior the treatment takes places as well as the treatment itself of real studio cases. We hope the subjects devoted in our Program to the conservation of modern and contemporary art increase with time in order to strengthen (and expand time devoted to) the following aspects: Theoretical level  Study of traditional theories for the conservation and restoration of cultural property and how do they fit in the context of modern and contemporary artworks. Methodological level.  Approach to the work of art. The search of successful treatments: the idea, the concept of the work of art, th artist’s intention...etc. Evolution of technical problems throughout the 20 century works of art. The interview with the artist. The legal relationship between the work and the artist. Copyright. The decision-making model.  Study of factors and differing values for the conservation of the work of art.  Intervention criteria in: video art, installations, plastics/synthetic polymers, ephemeral art, transitional art, eatart, kinetic art, monochromes, current eclecticism....etc Practical level.  Study of the constituent materials of current works of art, the problems of synthetic materials, and the complex structures where different materials are combined.  Conservation materials and techniques. Study of specific pathologies in modern and contemporary art. Case studies: theoretical approach, documentation and treatment projects.

VALENCIA TEMPLATE - MA in Conservation –Restoration of Cultural Heritage CONSERVATION EDUCATION & TRAINING PROGRAM PROFILE PROGRAM DETAILS: Program name

The Universidad Politécnica de Valencia offers BA, MA and PhD courses in Conservation and Restoration. This template only refers to the MA Program (currently in its 4th edition) since the BA Program is now under review by the Ministry of Education in order to be implemented next September 2010 according to the new European Higher Education System.

MASTER EN CONSERVACIÓN Y RESTAURACION DE BIENES CULTURALES MA Program in Conservation and Restoration Of Cultural Heritage Areas covered are: - Wall Paintings - Easel paintings, altar pieces and polychromed sculptures - Modern and contemporary art. - Stone - Textiles - Archaeology (ceramics, metals, bone....) - Others...(please, visit the website for detailed info) Level

MASTER

- Official MA Program that has received a Quality Award from the Spanish Ministry Of Culture, Education and Science. - Adapted to the European Higher Education Area requirements. - Allows the student to go on to Doctoral studies. Country

SPAIN

Duration

2 years diploma (120 credits) (SEPTEMBER-JUNE)

Format

Available full time (2 years) or part time

Campus/Distance learning Language used in teaching

On campus lectures and training, supplemented by a web platform (POLIFORMAT) SPANISH

Application pre-requisites

This MA program is intended for: -Graduates in Fine Arts or with a University Degree in Conservation and Restoration. -Graduates from Higher Schools of Conservation and Restoration and other related qualifications in Conservation and Restoration. -Graduates in related degrees.

Application procedures

Students can apply twice yearly. Deadlines are mid-June and midSeptember. Applications must be made through the Studies Office at the Universidad Politécnica de Valencia using the online application. The basis for the procedure of admitting and selecting students is the Bachelor. The MA Commission takes the following criteria into account when evaluating the students' applications: 1. 2. 3.

-Undergraduate degree in any area relevant to the contents of the MA course. -Academic record. -Curriculum Vitae (taking into consideration courses attended, research merits and professional experience related to the contents of the Master).

Interview procedures

NO

Number of students accepted

(currently under review)

PROGRAM CONTENT: Course content

Structure (more detailed info in the website)

The Master aims to provide students with research, academic and professional training in the field of the conservation and restoration of wall paintings, the conservation and restoration of easel paintings and sculptures, the conservation and restoration of contemporary art and the conservation and restoration of archaeological materials.

First year (60 CREDITS) A. COMPULSORY SUBJECTS: Students must successfully complete 12

credits from one of the two ―Physical-chemical foundations‖ subjects. B. ELECTIVE SUBJECTS: up to 48 credits. Second year (60 CREDITS) A. COMMON SUBJECTS: Students must study 9 credits in common subjects of their choice. B. SPECIALISATIONS: Students can choose to specialize in one of 3 areas (Specialist in Conservation and Restoration of canvas and panel Paintings; Specialist in Conservation and Restoration of Wall Paintings; and Specialist in Conservation and Restoration of Sculptures and Archaeological Material), and will have to successfully complete 24 credits in the subjects from one of those specializations.. C. WITHOUT SPECIALIZATIONS Students can opt NOT to study a specialization. They will then have to successfully complete 41 credits freely chosen from among those on offer, which may be from any line of specialization or free choice subjects. D. FREE CHOICE SUBJECTS Master Thesis (10 CREDITS) The Master thesis is a piece of written research corresponding to the work the students have developed at the conservation laboratories and/or studios. Off-campus conservation work

1. Every year the MA Commission offers several student placements in institutions and/or companies where the students work under the guidance of a senior conservator and an academic supervisor in the different areas of specialization covered by the MA Program. These internships are periodically offered throughout the academic year and updated on the MA website. Nevertheless, such placements are not a subject of the MA Program, so that they are not compulsory. 2. Academic exchange throughout the European Union within the framework of the ERASMUS Program is also possible for MA students at the UPV.

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no] YES Masters degree [yes or no] Doctoral degree [yes or no]

YES

Other

SPECIALIZED POSTGRADUATED LECTURES/ COURSES / SEMINARS/ WORKSHOPS OFFERED PERIODICALLY TO STUDENTS AND PROFESSIONALS IN THE DIFFERENT AREAS

CONTACT DETAILS Program Leader

Dr. Pilar Roig-Picazo (Head of the Conservation Department)

Coordinator

Dr. Laura Fuster-López (Member of the MA Commission and responsible for International Exchange)

Address

Departamento de Conservación y Restauración de Bienes Culturales Universidad Politécnica de Valencia Camino de Vera s/n 46022 Valencia (España)

E Mail - Dr. Pilar Roig-Picazo ([email protected]) - Dr. Laura Fuster-López ([email protected] )

Telephone

0034 96387 7310

Fax

0034 96387 7319

Website address

https://www.upv.es/entidades/DCRBC/index-es.html

Programme address

http://www.master.crbc.es/

VIENNA – ACADEMY OF FINE ARTS VIENNA Information on the MA in Conservation–Restoration/Course Specialization C-R of Modern and Contemporary Art is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

VIENNA OVERVIEW - MA in Conservation –Restoration/Course Specialization C-R of Modern and Contemporary Art ACADEMY OF FINE ARTS VIENNA – INSTITUTE FOR CONSERVATIONRESTORATION SPECIAL FIELD C-R OF MODERN AND CONTEMPORARY ARTWORKS When and why the program was started The program was started in 2005, following the university chancellor’s initiative to meet specific needs for additional training and education in the field of conservation of modern and contemporary art, - thus widening the existing program C-R of traditional / classical works of art in the special fields wooden objects and musical instruments/ easel paintings and polychrome wooden sculpture / paper, archival material, books and photos / mural painting and architectural surface; The type of contemporary artwork covered in the program

There is a wide range of types of artworks covered – of main interest are selected works of art from museums or private collections which exemplify special issues of conservation, represent complex materials and / or a variety of materials or which contain special technologies; - contemporary painting - 3-D objects and sculptures - installations Including synthetic polymers and natural organic materials (e.g. eat art) as well as electro-technical components (e.g. light art, playback equipment etc.) and/or time based media components (video and audio tapes, performance-related components) As a particular format of teaching & education 16 hrs per week are dedicated to studio practice: Students perform project work / case studies related to original artworks: examination, development of conservation and restoration concepts, performance and evaluation of conservation measures and design of preventive conservation strategies Focus lies on the examination and interpretation of changes / alterations in the material substance, the documentation of variations within the lifetime of an artwork, the artist intent and the context of its creation. Decision making processes, the development of conservation concepts and the accomplishment of active conservation treatments are emphasised. Educational objectives are to impart knowledge and skills of methodological approach, dialogue and communication as well as documentation strategies. Perspectives of both science and art history / humanities are addressed. The consecutive study plan encourages students from other fields of specialisation to share their background-knowledge on complex issues. Also, it enables teaching persons to collaborate and contribute to interpretative approaches (team-teaching). The student : tutor ratio Approximately 1:5 Sponsorship/endowments or bursaries that support the program Apart from general University scholarships / grants there are no sponsorships/endowments for this program Have you already adapted your training programme to reflect some of the new conservation needs being created by contemporary art? If so, what?

Depending on the artworks available we teach in reference to case-studies / implement project-based learning; Particular fields of specialisation are being covered / taught by external staff, e.g. for new media through cooperation with the FH Bern; Course contents are basically communicated in 2 cycles: one covers artists’ practice and intent as well as basic knowledge in electronics / technology - the other cycle’s focus lies on the interpretation of condition, decision making process and conservation options and strategies; Workshops and lectures are offered on alternating contents. They are designed to present materials and techniques and their interlinking with long-term stability, aging phenomena and possible interpretation of alterations. Another important focus lies on the evaluation and understanding of working process and artist’s intent. Therefore training in interview techniques renders a basic tool. Critical examination of concepts, e.g. the ‘meaning of materials’ play a crucial role in the program, as well as the discussion of values. How are you realistically intending to modify your training programme over the next few years to reflect these growing needs? Cooperation with museums / curators to expand project work ‘on the premises’ – for installation instructions, de- and re-installation practice –practical training in condition-reporting / dialogue with curators / artists; Increase Museum-excursions to cover varied topics: storing, exhibiting, presenting and installing works of art Increasingly implement in the program the subject of ‘visiting students’: to exchange opinions / attitudes / incentives: conservation students meet art students in their studios to discuss diverse topics, e.g. relating to materials, artists’ interview, long-term-stability of new media, documentation strategies, etc; Increase interdisciplinary cooperation with the Academy’s internal institutes, especially cultural sciences, philosophy, new media and fine art studios; Intensify cooperation with conservation science; What would you ideally like to do with your training programme (i.e. if resources were not an issue) to respond to these needs? - Resources to establish more refined strategies of documentation, especially for installations ( e.g. a variety of methods of visualisation / measuring techniques) - resources to invite guest lecturers, to offer special workshops

-

resources to better link the program to research projects, especially through increase of research staff / facilities / studio equipment;

If there are additional details that you would like to include they would be more than welcome

VIENNA TEMPLATE - MA in Conservation –Restoration/Course Specialization C-R of Modern and Contemporary Art PROGRAM DETAILS: Program name Conservation-restoration / Course-specialization C-R of modern and contemporary art Level 5-year diploma-program, equivalent to MA Country

Austria

Duration

10 semesters

Format

Full-time

Campus/Distan campus-learning ce learning Language used in teaching

German

Application pre-requisites

No formal pre-requirement except entrance-exam, see website: http://www.akbild.ac.at/Portal/studium/studienrichtungen/konse rvierung-und-restaurierung see website / entrance-exams take place in February each year for the following academic year, starting in October

Application procedures Interview procedures

see website

Number of students accepted

10 students for entire program per year / 2-3 students for special fields

PROGRAM CONTENT: Course content

Students perform project work that covers case studies, research, development of conservation and restoration concepts, performance and evaluation of conservation measures and design of preventive conservation strategies Objects of interest are selected works of art from museums or private collections which exemplify special issues of conservation, represent complex materials or technologies. . Educational objectives are to impart knowledge and skills of methodological approach, dialogue and communication, documentation strategies. Perspectives of both science and art history / humanities are addressed. Basically the following contents are covered: - synthetic materials / polymers - new media - modern & contemporary painting materials - photography and printing techniques - natural organic materials

Structure

30 ects per semester / 300 ects for the entire program

Off-campus conservation work

Obligatory external supervised studio-practice: 16 weeks for entire program / in addition max. 10 weeks off-campus conservation-work as obligatory selected topic

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no] Masters degree [yes or no]

-

Doctoral degree [yes or no]

Doctoral degree in Philosophy or Science, depending on main focus -

Other

CONTACT DETAILS Program Gerda Kaltenbruner Leader Address

Academy of Fine Arts Vienna Institute for Conservation-Restoration Schillerplatz 3

E Mail Telephone Fax

A 1010 Vienna Austria [email protected] t. +43 1 58816 8800 m. +43 664 80887 8800 f. +43 1 59916 8799

Website address

www.akbild.ac.at

Programm e address

http://www.akbild.ac.at/Portal/studium/studienrichtungen/konservier ung-und-restaurierung

WARSAW- Academy of Fine Art Information on the MA in Conservation–Restoration/Course Specialization C-R of Modern and Contemporary Art is provided as follows: An OVERVIEW A TEMPLATE that includes the following sections Program Details Program Content Other conservation programs offered at the same institution Contact Details

WARSAW OVERVIEW ACADEMY OF FINE ART IN WARSAW FACULTY OF CONSERVATION AND RESTORATION OF WORKS OF ART The roots of the theory, conservation science and methodology of the care of modern art have been collaboratively created and discussed since the late 1980s as part of the Polish academic project ‘Preserving for the Future’. It is “umbrella" long-term project which is a part of research dealing with new challenges in the twenty-first century and the orientation of theory in connection with cultural heritage, in particular issues regarding care, conservation and restoration of modern art. Some new trends have emerged based on research, identification and treatment of over 700 modern art objects from museum collections conducted at the Academy of Fine Arts in Warsaw and the Academy of Fine Arts in Poznao, and subsequently presented in the Postgraduate Museology Studies at the University of Warsaw. Since mid 1990ties as part of the EU projects directed by the Instituut Collectie Nederland (ICN) and by participation in the Modern Art: Who Cares? conference and publication (Hummelen et al. 1999), which sparked international debate and cooperation, followed by the International Network for the Conservation of Contemporary Art (INCCA), an international interdisciplinary project and website, organised by ICN and the Tate Gallery (London). The target groups were the numerous groups of professionals engaged in ensuring the existence of contemporary culture. The reason WHY the program was started was practical. The program that already cover the conservation of contemporary art started in 1994 because existed researches and intellectual tendencies of teachers in Faculty and at the same time a great number of contemporary artworks caring in the Faculty.

THE TYPE OF CONTEMPORARY ARTWORK COVERED IN THE PROGRAM: Artworks were mainly from Museum of Academy in Warsaw as well as distinguish collection of XX century art from “Muzeum Sztuki” in Lodz ( collection “a-r” – revolutionary artists’ group by Katarzyna Kobro and Wladislaw Strzeminski established in 1931). In mid 90ties- the type of contemporary artwork covered in the program were contemporary paintings from Warsaw’s museums (National Museums, National Gallery Zacheta). Since 1996 another part of advanced researches was complex care of avant-garde legacy of Alina Szapocznikow, a Polish-French artist (1926–1973), held a unique position in the post-war European avant-garde. In the 1960s and early 1970s, she was one of the first artists to experiment with synthetic resins. Her legacy numbers more than 500 items representing the whole spectrum of artwork, including traditional objects – sculptures in marble or bronze from the 1950s – as well as later works in different fields of art. such as hybrid art, ephemeral, synthetic sculptures made of polyurethane, polyester, complex assemblages and environments, protoinstallations, kinetic art, including electric light as part of their construction and expression. BASIC PROGRAMME FOR CARING OF MODERN AND CONTEMPORARY ART New art causes makes necessary the development of new conservation and restoration methods to avert a loss of its importance, a vanishing of ideas and a catastrophic ephemeral character of materials. The specificity of its conservation consists in extending conservation and restorative custody over modern art collections. This includes: • Collaboration with the artist to define the idea underlying the work, the significance of materials, the authenticity (i.e. ready-made). Conservational documentation adapted to the object’s character, including an interview with the artist and a study of the work’s context, material samples including indications for a reinstallation, multimedia. • Identification of material featuring an atypical or mixed technique, plastics, etc., a conservation with corresponding techniques • Preventive conservation. Care over objects, including kinetic or “haptic” elements, multimedia (video, audio, computer presentations) • Supervision of, handling and assembly, reinstallation and storage. Numerous artworks that underwent conservation in the Faculty, by such authors as Alexander Kobzdej, Józef Szajna, Jerzy Nowosielski, Leon Tarasewicz, interdisciplinary avant-garde artworks by Alina Szapocznikow, Tadeusz Kantor and Hasior, installations by Mariusz Kruk and Krzysztof Bednarski – originate from the Museum Sztuki in Lodz, National Museums in Poznan, Warsaw and Wroclaw, and also from galleries. Workshops are conducted in the area of conservation and curatorial custody for museum personnel and in relation to international projects.

RESEARCH Research constitutes an inevitable component of conservation and restoration techniques, artwork expert’s opinions and of cultural property in a wider sense. They are possible because of an integral and close cooperation involving scientists working in the field of conservation, conservators-restorers and art historians. Humanities-based research is used to asses artistic and historic value, while natural sciences-based research – to distinguish a work’s substance and structure, to identify the causes of its destruction, to select appropriate conservation techniques and materials. Examinations carried out with physical methods (i.e. LIPS, XRF) are based on various types of visible and invisible radiation - a wide array of modern research equipment is used, allowing to perform non-destructive tests. The evolution of chemical analysis methods led, while starting from microscopic crystal analysis, to complex methods like chromatography, GC-MS, FTIR, etc. New research and documentation techniques allow to recognize the historic substance at a microscopic level. Owing to them, a work of art opens to the conservator its innermost material secrets, it opens layers even the artist who created it wasn’t aware of. When observing a several-times-magnified structure of the matter, the conservator penetrates an area protected from the naked eye of a spectator. By becoming so deeply acquainted with its structure, he enters a close, almost intimate relation with the artwork. The personification of the work makes the conservator responsible, even against its wishes, for this work as if it was for someone dear. The effectiveness of research activities is a function of inter-disciplinarity, as well as of the creation of vast databases storing information about, among other things, individual techniques and materials used by artists. A properly coordinated cooperation involving art historians, conservators-restorers and scientists investigating works of art helps to achieve a better understanding of the works and the methods of caring about them because, as they say, E PLURIBUS UNUM – out of many, one. ARTISTIC TECHNIQUES AND TECHNOLOGIES The curriculum includes knowledge of artistic processes, techniques and technologies. During the course of all conservation specializations, students acquire active skills in ancient and contemporary artistic techniques. Copies of works of art are being created, faithfully reproducing ancient technologies and techniques. Owing to this artistic experience, a future conservator-restorer is capable to fully comprehend the works of ancient art. This will enhance the quality of his future work and his custody over artwork. As an example from the field of painting technology, owing to several-year-long studies and the realization of three copies from various periods and artistic styles, students not only hone their artistic talents, but they also learn the characteristic features of materials and the principles of constructing a multilayered painting in both traditional and alla prima techniques. With a similar honesty are treated technologies related to sculpture, wall painting, bookbinding, miniatures, water

colors and other paper-based techniques, artistic textiles. Summa summarum – key roles in the training of conservators-restorers belong to techniques and technologies they learned. As a result, the graduates’ aptitude for empathy towards ancient works and their artistic talents are the distinctive features of an education in the spirit of Polish “Art of conservation”. The student: tutor ratio: We have 149 students and 47 teachers in the Faculty. Sponsorship/endowments or bursaries that support the program: Based on the governmental grant for statute science of academician institution related to the individual grants of scientist. Museums grants for caring of collections. Participation in internationals grants UE – as COST, EUREKA!, Culture 2000. Focus on conservation programs on the promotion of the care of contemporary art: For example, in Poland, theory and practice of the preservation of modern art were presented many times, our last promotion was scientific care of the threemonth workshop entitled This Isn’t an Exhibition, and in the publication The Care of Collections, published by the Zachęta National Gallery of Art, Warsaw (Bogdaoska-Krzyżanek and Egit-Pużyoska 2008). THE CARING INCLUDE CONCEPTUAL PIECES SUCH AS INSTALLATIONS, PERFORMANCE. THE INNOVATIVE APPROACH to the programme (care of the artworks by Tadeusz Kantor, Mariusz Kruk, Stanislaw Dróżdż, Koji Kamoi were mainly from the collection Gallery Foksal and Muzeum Sztuki in Lodz). The few deliberations are referred below. Avant-garde art was tolerated in Poland, the country which was called the “funniest barrack” in the communist block, with a great role of liberal art after 1956. Among all this things Polish Foksal Gallery (since its founding in 1966) played an extraordinary role in the art landscape of Central and East Europe. Compared with the situation in the other countries in Soviet Bloc where all fields of life were closely controlled, in Poland some “gaps” appeared through the communist-programmed cultural policy. It was a place like a geyser of diverse artistic facts, happenings, installations in the form of conceptual works, a colourful island full of energetic, creative people in the middle of “Golden age” of cultural and social transformation. The main point in conservation of traditional art is to preserve the original material of the artwork as the crucial element transmitting historic, artistic, esthetic and others values. The specificity of contemporary art, and of installation art in particular, raises questions about preservation and what constitutes authenticity in contemporary art. Caring for conceptual art case studies:

since 1970 Edward Krasinski had encompassed various sites and objects by “blue line” of simple type sticking 130 cm from the ground, on the height of artist’s heart. There were so many objects encircled with blue tape - his old artworks, objects specially prepared to be encircled with, but also sculptures, architectural elements or his own daughter. He said “Through a pure little image and blue type, I sanctify a place as one of art”. This marking, indexing of the area and subjects is closely connected with the treatment of art as an idea. Once he said to the conservator: it doesn’t matter. Only the idea is important. If you can not clean it just over-paint it”. Fortunately we were able to remove stains, but in other situation – who knows…? Our black object taking as a material element of installation was only a small part in that conceptual “machine that makes the art”. Without deep research of the context, past realizations and first of all artist intention, it would become only a fetish. Sometimes we should not safe material as structure . The material-related problems of authenticity in conceptual installations are based on the issues of durability, changes and transieme. The work Still Life by Koji Kamoji contains permanent elements, reused in each re-exhibition (album, letters, calendar and other objects), but also ephemeral ones – an apple which in each exhibition passes every time from a state of full freshness to the process of rotting, or water in a glass, or earth from the gallery’s garden heaped on a newspaper. These items were all linked with the artist’s ‘apparatus for giving things a voice’, pieces of aluminium strip bent into arcs. We may therefore say that the retaining of that voice depends on maintaining the state of these objects just as they are. The decision, however, on the preservation or reconstruction of these objects must be based on the significance of a given element. In the case of permanent objects, this could be, for example, a historical moment in the life of the artist (letters) or emotions (the shock he felt seeing a photograph of a father throwing the body of his daughter over the side of a ship because he had no money for any other kind of funeral). The thing is, in semiotic terminology by Charles Peirce, an index sign like fingerprint. We can not change it. In the case of the ephemeral items, importance attaches to process (the changes in the apple), to apparent immutability (water), or to connection with place (earth) so following artist’s intention we must change the subject every time before new exhibition. The most important factor to be considered in conceptual art is the concept of the artist himself and his intentions concerning the work. The hierarchy of relative importance of these values applied by the artist must find a reflection in those applied by the conservator. The cycle Two words by Stanislaw Dróżdż was made on paper glued into the slice of aluminium with the text printed on it. The state of preservation was awful because of brown drips permanently integrated with the paper. It was impossible to remove it, on the other side it was impossible to leave it as a great interruption into the idea of the work. The artist’s concept was to show words, black on white background, nothing else. We decided to make an emulation, the process of recreating (usually in digital artwork) to keep it alive. In this case

emulation was the only way to expose the artwork in accordance with the artist’s intension. To sum up : authenticity is not an absolute, permanent value, it has an extremely individual character in the case of each artwork. The need for innovation the interpretation of authenticity is particularly explicit in the case of contemporary art. In contemporary art, the artist often creates a work in a given place, space, creating a temporary situation in which the viewer is a participant of the work. Preserving the unity of significance and material is essential to the existence of authenticity of experience as a form of empathy between the artist and viewer. This unity must be grasped by the conservator, whose task it is to preserve the material substance of the work not for its own sake, but in symbiosis with the message that it was given by its creator. The critical interpretation of the contemporary artwork and finding the balance between all those factors is essential, as Cesare Brandi noticed. This is possible through the recognition of the elements which determine the authenticity of the work, its material, message, context, internal unity, accordance with the intentions of the artist, and perceptions of the viewer. This can be obtained through the conservator’s analysis of the work, the collecting of data, interviews with the artist, creating specialist documentation, and by wide debate among specialists from different fields to preserve the authenticity of art. MA CONSERVATION – RESTORATION OF WORKS OF ART The 6-year long, interdisciplinary studies in the conservation/restoration of works of art end with a master’s thesis. The master’s thesis is multipart: The first part consists of an individual conservation of a work of art or other cultural property within the scope of one of the abovementioned specializations, also when requiring an interdisciplinary collaboration, like ethnographic art, or non-traditional CONTEMPORARY AND MODERN ART as well. Artworks are from museums, libraries and Polish collections are selected from the point of view of the solution to a conservation-related problem, and the student’s ability to work autonomously. Work is carried out under the keen eye of the promoter and it is supported by research. One part includes a scientific paper dedicated to the work’s conservation-related issues, including its conservational and research documentation. The second part of the diploma is an autonomous scientific study in the history of art, artistic or conservation techniques and technologies – related to the student’s major and written under the supervision of the promoter. The third part of the degree is optional and it consists of an artistic annex realized under the supervision of a professor in the chosen domain of art. The volumes including parts 1 and 2 of the master’s degree thesis are available from the Department’s Library. Since 1947: 725 MA graduates have completed studies at the Faculty THE CURRICULUM’S COURSE

The basis of the training of our students’ training are workshops in the conservation of artworks. Armed with the knowledge acquired from lectures in various domains, students face the great challenge of learning historic substance. During their studies and in the scope of every specialization, students – supervised and supported by their teachers – accomplish the conservation of several historic artworks (technologically corresponding to a given specialization), while preparing at the same time a conservation documentation. Before initiating any conservation task, they inventory the object and they perform its identification from an iconographic, historical, technological and state of preservation viewpoint. They learn to carry out basic physical and chemical tests and learn to collaborate with scientists doing highly specialized research. By cooperating with various institutions - museums, libraries, the Church, archives – the Department acquires valuable artworks for practice. Owing to such training, a great many damaged artworks have been saved and adorn now collections. The knowledge and the skills acquired during practice allow students to successfully complete a master’s thesis requiring autonomous work and decision-making.

WARSAW TEMPLATE - Faculty of Cons.-Rest. Of Works of Art , Academy of Fine Art in Warsaw CONSERVATION EDUCATION & TRAINING PROGRAM PROFILE PROGRAM DETAILS: Program name

Level

Master in Conservation-Restoration of Works of Art in four specialization (below). The Program includes courses specific to the conservation of contemporary art in whole programme. Study Field Conservation of Modern and Contemporary Art is pathway after 4th Lear of study (after „absolutorium” exam) Master Degree

Country

PL; Poland

Duration

6 years in one block

Format

Available full time

Campus/Distance learning

On campus

Language used in teaching

Polish; English for Socrates-Erasmus students

Application prerequisites

Entrance exam for Faculty http://www.asp.waw.pl/menu.aspx?MENU_ID=8. Students must choose to specialize in one of the following: Conservation of paintings ( movable, easel, panel, altars, wall-paintings and polychrome sculptures); Conservation of stone and elements of architecture, Conservation of textiles; Conservation of paper objects The entry requirement starts after 4 years of training. The entry exam for Master Course “Conservation and Restoration of Modern and Contemporary Art” is during so called ABSOLUTORIUM EXAM. It means “certificate of completion” of 4,5 years of training and every candidate has to be examined with her/ his project in the field “Conservation and Restoration of Modern and Contemporary Art” . 5th year of study after 1 semester is devoted to the scientific examination of artwork of contemporary art, recognition, briefly information about project and relation in field of the decision making process. Yes

Application procedures

Interview procedures Number of students accepted

PROGRAM CONTENT: Course content

21 per year in all specializations; number of all students in Faculty is 149 in academic year 2009/2010, number of teachers 47, including 10 professsors dr (multidisciplinary) The MA Conservation and Restoration of Art of Works is in four specialization. The Modern and Contemporary Art programme is a a part of specialization (pathway) in the Faculty of Conservation and Restoration of Works of Art at the Academy of Fine Art in Warsaw that can be entered after 4 years of training. MA is double- in theory and practice. Theory’s dissertation is written under the supervision of promoters: prof. dr Iwona Szmelter, prof. dr Andrzej Koss, dr Marzena Ciechanska, dr Weronika Liszewska, dr Jacek Martusewicz as well as the practical part of MA diploma ( depends on the main specialisation / or maybe interdisciplinary – a three semester internship in a conservation-training studio is under the supervision of promoters in the Faculty, sometimes, depending on objects needs, it is realised in situ). Throughout the programme, the

Structure

Off-campus conservation work

knowledge and consultation that can be obtained from the professional community and other universities and colleagues. The conservation and restoration programme has been officially accepted by the Ministry of Culture and Heritage and Ministry of Science and High Education in Poland. Faculty of Conservation and Restoration of Works of Art was founded in 1947. In 2007 obtained two times the highest assessment “Excellent” during UKA( University Commission-Uniwersytecka Komisja Akredytacyjna-UKA) and PAKA(State CommissionPanstwowa Komisja Akredytacyjna-PAKA) - as Academic Governmental Accreditation, it is usually accreditation for 5 years (until 2012). The program is organized on a modular structure and each year is divided into two semesters. Fulltime students study two 30 credit modules in each semester. A 60 ECTS credit module per year amounts to an academic student workload of approximately 350 hours; together study programme is approximately 3500 hours together (on campus) plus internships. It is 10 x 30 credit ECTS= 300 credit ECTS Summer practices after 2nd, 3rd, 4rd and 5th year of studies in museums and/or participation in field projects

OTHER CONSERVATION PROGRAMS OFFERED AT THE SAME INSTITUTION: Undergraduate [yes or no] No Masters degree [yes or no]

Yes

Doctoral degree [yes or no] Yes Other CONTACT DETAILS Program Leader

Address

Postgraduates studies and CPD modules in development Dean : professor dr Jerzy Nowosielski; [email protected] Care and Conservation of Contemporary Art Programme Leader : prof. dr Iwona Szmelter; [email protected] Faculty of Conservation-Restoration of Works of Art Academy of Fine Art in Warsaw

E Mail

Wybrzeze Kosc. Nr 37 00-379 Warsaw, Poland [email protected]

Telephone

(48-22) 323 70 21

Fax

(48-22) 622 96 49

Website address

http://www.asp.waw.pl

Programme address

http://www.konserwacja.asp.waw.pl/