• 한국문화재보존과학회:학술대회논문집
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• 한국문화재보존과학회 2005년도 제22회 학술대회 발표 논문집
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• pp.154-159
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• 2005

The most common conception of a work of art is as a unique object. In conservation the prevalent notion of authenticity is based on physical integrity, this guides judgements about loss. For the majority of traditional art objects, minimising change to the physical work means minimising loss, where loss is understood as compromising the (physical) integrity of a unique object, and this forms the focus of conservation. Fundamental to conservators' approach to the conservation of contemporary art is the notion that the artist's intent should guide conservators' practice. Since most of the artists creating installation art are living, it is possible to interview them about the details of the installation, attitudes to changing technology, parameters of acceptable change and their views about what aspects of the installation are essential to preserve. Conservation is no longer focused on intervening to repair the art object but has become concerned with documentation and determining what change is acceptable and managing those changes. In order to accurately install works in the future it is necessary to broaden our focus to include elements of an installation that affect the viewer's experience. This might mean documenting the space, the acoustics, the balance of the different channels of sound, the light levels and the way one enters and leaves the installation. These are as important as the more tangible or material elements in the conservation of the work. It is also necessary to work with industry and specialists outside the field of conservation to develop new skills to preserve and manage new types of objects in our care. We can also document the less tangible details of an installation such as the light levels, the character of the sound etc. This is a new area of conservation and as a profession our understanding and knowledge will deepen with time. All of these strategies work together to help to limit the risk of not being able to accurately install these works in the future. Deciding what can be changed and how to best care for any element of an installation will depend on its meaning and role. For both contemporary and traditional objects such decisions are documented by conservators and although the focus of the conservator may have moved away from the material object, the approach is still rooted in traditional notions of collection care.

• 박물관보존과학
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• 제14권
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• pp.29-35
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• 2013

백자투각연당초문지통과 같이 기형 및 장식기법이 복잡한 도자기의 경우, 기존에 사용되고 있는 복원제는 경화시간이 짧아 정교한 성형이 어려워 틀을 이용하여 복원한다. 하지만 틀을 이용한 복원 또한 시간적, 재료적인 단점이 있기 때문에 직접 복원하는 방법을 연구하고자 하였다. 복원제의 경화시간과 물성은 작업성과 밀접한 관계가 있기 때문에 복잡한 형태의 복원부를 직접 성형할 때는 충분한 가사시간이 확보되는 복원제가 필요하다. 소성점토(Original Sculpey)와 에폭시퍼티(Repair it Quik)를 각기 다른 비율로 혼합하여 가사시간, 색도 변화, 작업성에 대한 실험을 하였다. 실험결과 OS8 : RQ2의 비율로 혼합하였을 경우 가사시간이 충분하고 성형성이 좋았으며 황변도가 낮고 채색성이 좋아 가장 효과적이라는 것을 알 수 있었다.

• 보존과학연구
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• 통권15호
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• pp.137-147
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• 1994

This article is an introduction to : ICCROM PAPERCONSERVATION COURSE 1993" which I participated in, from July 28th 1993 to September 24th. The program was divided into two major sections. The first part deal with scienctific principles of paper conservation, covering structure and composition of paper and related materials, causes of deterioration and guidelines for preservation. It include chemistry for paper conservators and the history and technology of papermaking. Second part of the course emphasize practical conservation ; participants actually work together with specialists. Two weeks are dedicated to the Western approach to paper conservation. A selection of recent conservation treatments are discussed methodologically, demonstrated and performed. The same amount of time are devorted to a seminar on the conservation of fareastern paper objects. The aim is to exporse participants to different approrches and methodologies in paper consevation, to compare and discuss various tendencies and to learn lessons from other experiences that are applicable to one's own work.

• 보존과학회지
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• 제36권1호
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• pp.37-46
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• 2020

It is difficult to predict the kinds of damage to contemporary art because of the diversity of materials and experimental techniques used. This makes it hard to conserve. Furthermore, the artist's intention in contemporary art is emerging as one of the important issues to be handled in conservation treatment. Thus, collaboration with various stakeholders such as the artists themselves, bereaved family members, and foundations have become more important than ever from the viewpoint of planning conservation treatment. The trustworthiness of conservation treatment would be significantly enhanced if conservation treatment reflected the understanding and respect of not only the appearance of the work, but also the social/cultural context inherent in the work. This should be done, in particular, through collaboration with the artists. In this study, various case studies at home and abroad were analyzed as to explore collaboration methods with various stakeholders for objective and trustworthy conservation treatment. Along the way, the study raised the need to establish new conservation ethics for contemporary art. It is expected that the outcomes of the study could be used as basic material to preserve the originality of contemporary artwork and to set the direction for conservation practice.

• 보존과학연구
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• 통권31호
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• pp.173-202
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• 2010

Within the framework of the Mongolian-Korean Joint Project for "Research and Preservation of Cultural Heritage", I enrolled in 3 months training course from February to May 2010 at the Metal laboratory of Conservation Science Division in National Research Institute of Cultural Heritage, Korea. Some metal artifacts, which are preserved in Institute of Archaeology, Mongolian Academy of Sciences, were brought and restored there. These chosen findings were found at Gobi and mountainous region of Mongolia, preserved under the different circumstances and dated back to Middle Age from Bronze Age. At the Metal laboratory of the NRICH, the conservation work was carried out for three months on 15 metal objects, including arrowhead, stirrup, caltrop, axe, knife, ring and so on, which were found at Khugshin Teel's ruin of Khairkhandulaan soum of Uvurkhangai province, Ungut of Altanbulag soum of Tuv province, Baruun Naran and Ukhaa khudag of Khankhongor and Tsogttsetsii soums of Umnugobi province. The report of the result of this conservation work is available here.

• 공학교육연구
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• 제15권5호
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• pp.42-46
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• 2012

Graduate Students in engineering at The University of Tokushima can take part in an educational program which is offered long-term internship opportunities (at a company or the government). Onishi, one of authors, took part in this educational program. She is studying environmental conservation at the university and is interested in environmental conservation activities led by residents. Striking a balance between environmental conservation and human economic activities is seen as important to society. However, the continuing in environmental conservation activities is difficult. Therefore, collaborative activities attract attention as a way of the continuing in environmental conservation activities. A person called "co-coordinator" is a key to make many people to participate in the sustainable collaboration activities. The main role of co-coordinator is connecting people who are interested in environmental conservation activities. The purpose of joining in environmental conservation activities is different from person to person depending on where they belong to or where they live. Onishi took part in the educational program to learn the techniques of adjusting the differing interests. She did her internship at environmental consulting company in Kamikatsu town, Tokushima prefecture. She participated in several environmental conservation activities and work experience as a coordinator. Through this experience, she learned not only the technique but also the difficulty of the work. This paper reports the results obtained from her experience.

• 박물관보존과학
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• 제27권
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• pp.23-38
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• 2022

최만린 작가의 <이브 58-1>은 석고 입상으로 광복 이후 추상미술 조각 조형이념이 반영된 '이브' 시리즈의 초기 작업 시기에 제작되었다. 근·현대 조각품은 다양한 재료로 제작되기 때문에 재료의 선택과 표현기법이 작가의 의도와 시대성을 반영한다. 따라서 초기작품인 <이브 58-1>에 사용된 재료와 제작기법은 작가의 작품활동 연대기에 중요한 기초자료이다. 본 연구에서는 과학적 분석을 통해 제작기법을 확인하고 여러 의사결정권자의 협의를 통해 보존처리 범위를 설정하고자 하였다. 먼저, X-CT 내부구조 확인 후 재질분석을 실시하여 작품의 형상학적 특징과 재료 및 제작기법을 확인하였다. 분석결과 상대적으로 안정한 상태로 판단되어 소장 기관, 작가 조수, 작가 생전 인터뷰 등의 의견을 종합하여 최소한의 보존처리를 실시하였다.

• 보존과학회지
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• 제37권4호
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• pp.391-401
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• 2021

Outdoor sculptures of modern art works are being damaged and deteriorated as they are exposed to the outdoor environment due to the nature of exhibition in the outdoor environment, but secure of basic data through the measures for conservation and advanced researches still remain in the early stage. The surface of "Conversion" which is exhibited in the Busan Cheonmasan Sculpture Park has been exfoliated and deteriorated due to outdoor exhibition for a long time, so systematic conservation and management of works are considered necessary. Prior to the conservation and management, this study conducted observation of cross section, analysis of inorganic components, FT-IR, Raman and Py-GC/Mass analysis to examine the nature and type of paints used for the work through a scientific analysis. As a result of analysis, paints used for the "Conversion" include paint mixed with silvery aluminium powder and white pigment, reddish paint mixed with toluidine red, bluish paint that mixed prussian blue and titanium white and mixture of phthalocyanine blue and titanium white. The result is expected to be used as basic data for selecting materials necessary for conservative treatment of and establishing a plan for conservative treatment of the "Conversion".

• 건축역사연구
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• 제29권3호
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• pp.25-36
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• 2020

The purpose of this study was to analyze the correlation between conservation activities and the development of tourism in the modern period in the Korean peninsula. The main building of Jangansa Temple, located in Mt. Geumgang, was repaired in the 1930s. During the repairs, the Japanese General-Government actively engaged in the development of Mt. Geumgang and raised funds for the operation of the Korean Peninsula through tourism revenue. The repair work was carried out under the influence of the Mt. Geumgang development project. And its influence is revealed by reviewing official documents recording repair work. This study tried to clarify the relationship between development and repair work through official documents.

• 박물관보존과학
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• 제3권
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• pp.9-13
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• 2001

국립경주박물관의 보존처리 의뢰를 받아 포항 옥성리 가지구 35호분 목곽묘출토 철제투구(주(胄))의 보존처리를 실시하였다. 보존처리자는 발굴현장에서 유물수습에서 부터 보존처리와 복원품의 제작에 이르는 일련의 작업과정을 보고하였다.