AIC's 53rd Annual Meeting

In 2023, a unique course in graduate conservation treatment was developed using an approach to the conservation of community heritage focused on meaning and collaborative work at the Conservation Center of the Institute of Fine Arts, New York University. Titled Transferable Skills in Objects Conservation, this course was designed by Pamela Hatchfield, Judith Praska Distinguished Visiting Professor of Conservation and Technical Studies, in collaboration with Yue Ma, Director of Collections at the Museum of Chinese in America (MOCA), and private conservators from A.M. Art Conservation: Rachael Perkins Arenstein, Anne Léculier King, and Eugenie Milroy. Artifacts from MOCA’s collection with complicated condition issues and compelling histories were selected for treatment. Students explored a variety of skills increasingly central to current approaches to the conservation of objects, including storytelling, sustainability, and provenance research. Rather than focusing only on examination and treatment, we partnered with a local community museum, private conservators, and experts in fields including lifecycle analysis and journalism, embracing a holistic approach to the care of collections. The course also delved into treatment materials and techniques used in other specializations within conservation to highlight the composite nature of objects and the diverse range of materials and approaches that may be employed during treatment. 

Established in 1980, MOCA preserves and shares the diverse cultural experiences and material heritage of people of Chinese descent in the United States. MOCA’s collection was damaged by fire in 2020, an event of particular concern due to the museum’s role as a repository of community heritage. MOCA’s collection includes objects that are valued primarily for their significance to community members, sometimes placing less emphasis on their aesthetic and material qualities. Although intangible values are often considered during treatment, prioritizing cultural significance foregrounds the act of storytelling within the process of conserving objects. The students collaborated with MOCA staff to understand the contexts and histories of their objects, exploring archives and oral histories, developing treatments in consultation with Ma and A.M. Art Conservation, and navigating sustainability challenges. After receiving training in engaging and accessible storytelling, students shared treatment presentations geared toward different audiences: technical presentations for their conservation colleagues, general presentations for the broader community, and blog posts for MOCA’s use in publicity and outreach. We also shared our work through virtual group presentations with UCLA conservation graduate students. 

This holistic approach to the conservation of community heritage presents a model for the inclusion of reciprocal exchange of knowledge and resources with colleagues and those outside the field, and the importance of incorporating soft skills into our practice. This collaboration provided valuable treatment experience while presenting an opportunity to develop communication, storytelling, provenance, and sustainability skills. It enriched the learning experience for the students while making these objects accessible for the institution and the public. While students benefited throughout the consultation and treatment process, the tangible impact for MOCA will be visible when conserved objects are displayed when the renovated museum reopens in 2025.