A look at Conservation in the news, an article written by Ruth Osborne in March 2015, discusses the author’s frustration with the field of conservation, and more over the dependence on scientific methodologies that provide little insight. From the beginning, she appears to confuse her understanding of what a conservator does with that of art analysis and other respective fields, as well as, a misunderstanding of the history of the profession itself. On this point, I feel she unknowingly identifies the largest issue of conservation’s portrayal in the news- that being that most do not fully understand the objectives a conservator has when caring for a piece.

In this, she is extremely critical of the decision-making process of various conservators and vents her frustrations with decisions she finds ill-suited. While I am not condoning the decisions of the conservators she specifically calls into questions, I am more hesitant to dismiss their decision-making process with as little regard as she has. “But how does one simply gloss over the danger of transporting an already vulnerable painting overseas for temporary exhibit?” It is my assertion that true professionals in the conservation field never ‘simply gloss over’ the risk of damage, but that the profession is inherently dependent on the much-deliberated analysis of both present condition, future care, and ethical obligations surrounding the object purposed for conservation. This can be seen in the AIC Code of Ethics, as well as, ICON and every professional conservation organisation.

While these ethical codes maintain a current standard amongst conservation professionals, these standards are relatively new. Prior to these professional organisations, there was little to no regulation of who could practice restoration. This also led to a division between the term restorer and conservator itself. The damages of previous restoration attempts on various works of art are a present and real concern amongst conservation professionals.  As such, we employ the most scientific methods appropriate to accurately care for a piece. This is not done in the search for an enlightened understanding of a piece, as suggested, but to reveal the authenticity of the object. Any enlightened understanding is subject to the owner, museum, and others to evaluate independently.

In addition, a conservator is not primarily concerned with making an object look new, but rather to stabilise and ensure the object’s survival for future generation’s enjoyment. Conservation is a science that employs history, culture, artistic methods, and more in its attempt to form a complete understanding of the object for this purpose.