A Note on Terminology

Thomas Podner (left), project conservator for McKay Lodge Inc., converses with city architect, Joel Koopman.

The term "conservation" has been adopted to include both activities and measures leading to a "restoration" as well as activities and measures promoting "preservation". "Restoration'' may be taken to mean the return of some physical state lost over time from alterations or deterioration. "Preservation", on the other hand, means the sustaining of some physical state against the effects of nature and man over time. The activity of conservation work includes aspects of both. However, both "restoration" and "conservation" are commonly used by non-conservators interchangeably without much consideration of the nuances of meaning. Our conception of preservation is fairly uncomplicated, but a conservator's understanding of "restoration" is complicated. For one, it is often impossible in some cases and undesirable in others to truly restore an art object to an original or former state. Could one have truly restored the Tyler Davidson fountain? - No! It would have been impossible to restore the as-delivered condition of the bronze without causing damage to the surface of the metal in an attempt to removal all corrosion and stains, and it would have been undesirable to do so from the point of necessity since that state can not be preserved without change caused by the reaction of the metal to the environment. Within conservation it is undesirable to attempt to restore the wholeness of a damaged art object if it means removal of damaged original materials. For example, in modern thinking it is better to work with the deteriorated remains of an original statue arm and obtain a fair resemblance of the original than to cut away the original materials of the arm and install a new replacement. However, even this comment is too simplistic and formulaic. Conservators work within a code of ethics which allows for case-by-case decisions on matters of how far restoration can be achieved. This is why conservators prefer not to say in a simple manner they are "restoring" something. When a conservator says "restoration" it is fraught with nuance. Using the term "conserving" they imply their inclusion of the ethical considerations inherent in the problems of restoration.

How are Conservators Trained?

Today, most individuals seeking a career in art conservation are trained at one of several graduate programs. In the United States, there are only three: one at New York University leading to a Master of Art in Art History with a Certificate in Conservation, one at the University of Delaware in collaboration with the H.F. Dupont Winterthur Museum leading to a Master of Science or Ph.D. in Art Conservation, and one at the State University College at Buffalo, NY leading to a Master of Arts in Conservation. Older conservators have attained their professional status through years of training with recognized masters and additional academic studies. Conservators specialize in their graduate studies in areas such as paper conservation, painting conservation, objects conservation, furniture conservation, and so forth.

What Qualifies a Conservator?

Currently, there are no qualifying exams or licensing of conservators as there are with architects and engineers. In fact, anyone can call oneself a conservator. This is becoming increasingly problematic. Those "in the know'' such as certain museums; federal, state, and city departments; and private collectors became well aware of the body of individuals who can be considered professional conservators through word-of-mouth referrals or experience. Others often rely on the only peer-review qualifying procedure currently available. This is the Professional Associate membership status of the American Institute for Conservation of Historic and Artistic Works (AIC). To become a Professional Associate of AIC, a conservator must submit documentation of various conservation projects performed as well as evidence of either graduate conservation program training or equivalent studies to a board of peer professionals. These studies certainly must include the technical training necessary to perform a conservator's work but also, and very importantly, the training in making decisions within a prevailing code of ethics. This latter training comes from either graduate training or the working within groups of other accepted professional conservators. This peer interaction is what maintains uniformity in the profession, its practices and ethics, through inevitable evolutions over time. In the United States, having Professional Associate Status in AIC is increasingly becoming the minimum standard by which to judge the qualification of a conservator.

What Qualifies a Conservator of Outdoor Sculpture?

Many conservators of sculpture have received graduate training in general objects conservation. However, conservators specializing in outdoor sculpture probably represent the largest pool of professionals among the conservation specialties who have not been trained in graduate conservation programs but instead, have accumulated their training through other means. This is due to the diverse and somewhat industrial nature of the objects with which they must work. A good conservator of outdoor sculpture must have had hands-on experience in sculpting, casting, and many industrial processes in metalworking and stone working. Experience in most phases of cement work and in many forms of welding, for example are highly desirable. Basic skills in construction and engineering are also called upon in their work. These require training not available in graduate conservation programs. Because of either the diverse materials encountered or the diverse environments, conservators of outdoor sculpture frequently work in close partnership with specialist objects conservators focusing narrowly on iron, wood, stone, coatings, etc. and with conservation scientists, engineers, and architects. There are relatively few conservators of outdoor sculpture because of the diverse background training which must be acquired.

Who is the Tyler Davidson Fountain Conservator?

McKay Lodge Fine Arts Conservation Laboratory, Inc.
10915 Pyle South-Amherst Rd., Oberlin, OH 44074
Phone: 440-774-4215, Fax: 440-775-1368

Est. 1989; Incorporated 1990

Company information can be found at www.oberlin.to

Thomas J. Podnar, Sculpture Conservator
Professional Associate, AIC*

Robert G. Lodge, President
Professional Associate, AIC*

*AIC: The American Institute for Conservation of Historic and Artistic Works

Assistance in bronze patination will be provided by:
Cameron Wilson, Sculpture Conservator
Brooklyn, NY

Assistance in bronze cleaning, repairs, and casting will be
provided by:
John Cline
Casting Arts & Technology
Cincinnati, OH

1. 1998 Design Award Citation by the General Services Administration, Washington D.C. for the major conservation of Alexander Calder's Flamingo Sculpture,
Federal Plaza, Chicago, IL.

2. 1996 Design Award Citation by the General Services Administration, Washington D.C. for the bronze conservation in the restoration of Marshall Frederick's monumental Expanding Universe Fountain, located in the courtyard of the State Department, Washington DC

1. General Services Administration, Washington, DC
Conservation of the sculpture collection in all federal properties throughout the United States.

In 1996, after very competitive bidding with criteria for award placing great weight on qualifications and capabilities and little weight on fees, McKay Lodge Inc. was selected to be the contractor arranging, overseeing, and performing as-needed preservation activities on the federal sculpture collection located on federal properties throughout the United States including Alaska, Hawaii, and the Virgin Islands.

To accomplish the demands of this work, McKay Lodge Inc. proposed and assembled a national network of conservation subcontractors. These subcontractors were subsequently approved in the award of the contract. McKay Lodge Inc. utilizes this network to assist the firm in accomplishing the work orders for various conservation work such as condition assessments, emergency response, and planned treatment on a national level.

GSA conservation projects are designed and completed under the innovative three-year national indefinite quantity sculpture contract. Under this new program in which McKay Lodge Inc. is the sculpture contractor, GSA outsourced its local administrative burden of sourcing and contracting conservation for regional projects to a single private firm (McKay Lodge Inc.) under contract to provide this sourcing and administration on a national scope. Further, by placing the conservation of regional public sculpture under one firm which works closely with the Fine Arts Collection coordinator in Washington, DC, a familiarity and consistency is achieved through the single point-to-point relationship. GSA is thereby able to solicit, guide and accept in an easier and therefore more cost-efficient manner a coherent activity in the preservation of its collection throughout all its twelve geographic regions. The art benefits and GSA benefits in this program from savings in local administrative time and from a release of some burdens in central coordination. This contract and its execution by McKay Lodge Inc. has been considered by GSA to be an enormous success.

2. Treasury Department, Washington, DC

Conservation of the two bronze statues on the plaza of the Treasury Department in Washington: Alexander Hamilton and Albert Gallatin within the contract for plaza stone restoration.

3. City of Cleveland

Conservation of eleven bronze and stone monuments and sculptures in the City of Cleveland through the administration of the Sculpture Center of Cleveland and funding from the national Save Outdoor Sculpture! (SOS!) organization, Heritage Preservation, Smithsonian Institution, Washington, DC. and Target Stores.

4. City of Buffalo, NY

Conservation this year of two sculptures in the city and in August the assessment of five monuments for possible treatment in the year 2000 and the assessment of 21 monuments and sculptures for possible maintenance in 2000.