New today, from SAPIENS Following climate protests at art museums, a conservator considers museums’ role in the unsustainable exploitation of nature and cultural heritage.
. Second, as a conservator at the University of Cambridge Museum of Archaeology and Anthropology , I am well aware of the vulnerabilities of material heritage, as well as the energy, labor, and money required to maintain it. But even as a museum professional, the potential harm to famous artworks valued at tens of millions of dollars—, which is kept behind bulletproof glass at the Louvre Museum in Paris, was smeared with cake in a protest against climate change.
In light of these protests, it is time for museum administrators and supporters to reflect on the damage that has been done to natural and cultural resources by building and maintaining these collections. Museums and the public must engage in a larger conversation about preserving fragile heritage—and repairing humanity’s relationships with both natural resources and one another., as on many others, I find myself working with a fragile object.
This sugar model of a pig was crafted in Mexico sometime before 1898 for a Day of the Dead celebration and is now at the University of Cambridge Museum of Archaeology and Anthropology.As I look at the little pig, I wonder what the collector was thinking when they brought this object to Cambridge.
Unlike oil paintings or marble sculptures—the types of objects often found in European fine arts museums—the materials in ethnography collections are complex and highly varied. They are also relatively sensitive to problems common to museum storage, including pest infestations, neglect, and seasonal fluctuations in temperature and humidity that can cause mold and deformation. Fragile materials like plant fibers and fur need frequent monitoring to prevent these problems.
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