Sharing Conservation Imaging Research with the Public

ABSTRACT

Conservation investigation often includes substantial technical analysis, and digital tools now permit visitor engagement with this content in museum galleries. Reflectance Transformation Imaging (RTI) and 3D laser scanning were integral parts of a recent technical study of gilt metalwork performed on an early 19th-c. French table centerpiece at Cooper Hewitt, Smithsonian Design Museum (CHSDM). RTI permitted interactive viewing of surface textures to show toolmarks evident from manufacturing. 3D laser scanning allowed comparison of two closely related figures, one of which is believed to be a surmoulage (replacement cast) made from the other. While historical gilt metalwork has been the focus of conservation research for many decades, these digital tools both support innovative scholarship and provide an entry point for new audiences. CHSDM adapted these digital files to create an in-gallery interactive didactic, allowing visitors to learn more about the conservation project through self-guided content. Given an increasingly digital-savvy museum public, the exhibition didactic allowed the conservators to interface with non-specialists and created a precedent for similar collaboration.

RÉSUMÉ

Un examen en restauration inclut souvent de substantielles analyses techniques, et les outils numériques permettent maintenant l'interaction du visiteur avec ce contenu dans les salles d'expositions des musées. L'imagerie par transformation de réflectance (ITR) et le scanneur tridimensionnel ont fait partie intégrante d'une étude technique récente réalisée au Cooper Hewitt, Smithsonian Design Museum (CHSDM) sur un ouvrage en métal doré, un surtout de table français du 19e siècle. L'ITR permet d'obtenir une vue interactive des textures de surface mettant en évidence les traces d'outils de fabrication. Le scanneur tridimensionnel permet la comparaison de deux figurines étroitement reliées dont l'une d'elles serait le surmoulage (une copie de remplacement) de l'autre. Alors que la dorure sur métal a été un centre d'intérêt pour la recherche en conservation pendant plusieurs décennies, ces outils numériques amènent chacun des savoirs novateurs et offrent un point d'entrée pour de nouveaux publics. Le CHSDM a adapté ces fichiers numériques pour créer un contenu didactique interactif en salle, permettant aux visiteurs d'en apprendre davantage sur le projet de conservation par l'intermédiaire de visites autoguidées. Le public des musées étant de plus en plus familier avec les technologies numériques, l'approche didactique de l'exposition a permis aux restaurateurs d'entrer en relation avec des non-spécialistes et de créer un précédent pour des collaborations semblables. Traduit par Isabelle Cloutier.

RESUMO

A pesquisa de conservação frequentemente inclui análises técnicas substanciais e ferramentas digitais permitem, agora, o envolvimento do visitante com esse conteúdo nas galerias de museus. Imagens de Transformada de Reflectância (RIT) e escaneamento em laser 3D foram parte integrante de um estudo técnico recente sobre metalurgia dourada realizado sobre um centro de mesa francês do início do século XIX do Cooper Hewitt, Smithsonian Design Museum (CHSDM). RTI permitiu a visão interativa de texturas de superfícies para mostrar as marcas de ferramentas evidentes da manufatura. Escaneamento em laser 3D permitiu a comparação de duas figuras estreitamente relacionadas, uma das quais se acredita ser um surmoulage (moldado de reposição) feito do outro. Enquanto a metalurgia dourada histórica tem sido o foco da pesquisa em conservação por muitas décadas, essas ferramentas digitais apoiam bolsas de estudos inovadoras e provém uma porta de acesso para novas audiências. CHSDM adaptou esses arquivos digitais para criar uma didática interativa na galeria, permitindo aos visitantes aprender mais sobre projetos de conservação através de conteúdos autoguiados. Dado o público de museus cada vez mais familiarizado com o digital, a exposição didática permitiu aos conservadores interagirem com não especialistas e criarem um precedente para colaborações similares. Traduzido por Sandra Baruki.

RESUMEN

La investigación en conservación a menudo incluye un análisis técnico sustancial, y las herramientas digitales actuales permiten a los visitantes interactuar con este contenido en las galerías de los museos. Las imágenes por transformación de reflectancia RTI (sigla por nombre en inglés -- reflectance transformation imaging) y el escaneo láser 3D fueron parte integral de un estudio técnico reciente de partes de metal dorado en un centro de mesa francés, fabricado a principios del Siglo XIX, que se encuentra en la colección del Cooper Hewitt, Smithsonian Design Museum (CHSDM). RTI permitió la visualización interactiva de texturas de superficie para mostrar marcas de herramientas visibles resultantes de la fabricación. El escaneo láser 3D permitió la comparación de dos figuras estrechamente relacionadas, una de las cuales se cree que es un surmoulage (molde de reemplazo) hecho a partir de la otra. Si bien la orfebrería histórica ha sido foco de investigación en conservación durante muchas décadas, estas herramientas digitales respaldan la investigación innovadora y proporcionan un punto de entrada para nuevos visitantes. CHSDM adaptó estos archivos digitales para crear una interacción didáctica en las galerías, permitiendo a los visitantes aprender más sobre el proyecto de conservación a través de un contenido auto guiado. Dado que el público es cada vez más experto en museos digitales, la didáctica de la exposición permitió a los conservadores interactuar con no especialistas y estableció un precedente para colaboraciones similares. Traducción: Silvia Centeno; revisión: Amparo Rueda.

KEYWORDS:

• Reflectance Transformation Imaging
• 3D laser scanning
• public outreach
• technical study
• gilt metal
• digital interactive

Acknowledgements

Thanks to Cooper Hewitt’s staff for enabling this project and to the Smithsonian Women’s Committee for funding support. We’d like to thank Cara McCarty, Sarah Coffin, Annie Hall and Deborah Fitzgerald for initiating the project. Treatment was performed by contract conservators Drew Anderson, Jakki Godfrey, and Kerith Koss Schrager. RTI was performed with help from Nicole Feldman, and 3D scanning was performed at NYU’s LaGuardia Lab with Taylor Absher.

Disclosure statement

No potential conflict of interest was reported by the authors.

Notes

1 Prior to founding his own firm, Thomire worked with the preeminent bronze maker Pierre Gouthiere (1732–1813). Curatorial research into the surtout’s provenance supports patronage by Napoleon, as a gift to his stepson Eugène de Beauharnais. The swans on the exterior framework of the plateau are indeed linked to Eugene, as they were a decorative motif favored in his Paris home, the Hotel Beauharnais (Leben, Ebeling, and Hammond 2016).

2 While most of these pairs were nearly identical in appearance, impeccably modeled, cast, and finished, one member of the pair in question presented clumsier details that lacked the refinement present in its mate. Its surface tonality differed as well, lacking the bright lemon color of the rest of the surtout components.

Additional information

Funding

This work was supported by Smithsonian Women’s Committee (grant number 23).

Notes on contributors

Jessica Walthew

Jessica Walthew is an objects conservator at Cooper Hewitt Smithsonian Design Museum. She holds an MA in Art History and Archaeology with advanced certificate in Conservation from NYU’s Institute of Fine Arts, Conservation Center. She has worked on archaeological projects in Turkey, Italy, and Peru. At Cooper Hewitt, she works primarily with the Product Design and Decorative Arts collection as well as with the Digital Acquisitions Working Group. She is a Professional Associate of the American Institute for Conservation. Mailing address: As for Barack. Email: [email protected].

Sarah Barack

Sarah Barack studied art history and art conservation at the Conservation Center, Institute of Fine Arts at New York University. She worked at various museums including the Metropolitan Museum of Art and Oriental Institute Museum before founding a private studio, where she treated a wide range of media. She concurrently co-organized and managed several advanced technical art history workshops at the Conservation Center and Yale University Art Gallery. Sarah recently joined the Cooper Hewitt Smithsonian Design Museum as Head of Conservation and Senior Objects Conservator. Sarah is also the current Treasurer of the boards of the American Institute for Conservation and the Foundation for Advancement in Conservation. Mailing address: Cooper Hewitt, 2 E. 91st Street, New York, NY 10128. Email: [email protected].

Adam Quinn

Adam Quinn is a Digital Product Manager on the Digital and Emerging Media team at Cooper Hewitt. He studied Industrial Design and Interactive Design at Syracuse University before graduating with a Master’s from New York University’s Interactive Telecommunications Program (ITP). With over 12 years experience in the professional services industry, Adam has worked with Fortune 500 companies, startups, and everything in between. Adam’s background in product design, architecture, and systems planning was a launching point to move from static design into the world of interactives. His passion for technology, art and design have led him to create video and performance productions, featuring his network of artists and creators. Mailing address: As for Barack. Email: [email protected]

Nolan Hill

Nolan Hill is an interactive media developer on the Digital and Emerging Media team at Cooper Hewitt Smithsonian Design Museum. He studied Computer Science and Fine Arts at the University of Pennsylvania, where he received a Bachelor of Applied Science in 2018. At Cooper Hewitt, he helps to maintain the technological infrastructure of the museum and builds interactive digital experiences. Mailing address: As for Barack. Email: [email protected].