Ethnographic art is deeply rooted in the history and traditions of a particular community, and it can play various roles within that context. It may serve ceremonial, religious, or symbolic purposes, as well as being functional in everyday life. For example, masks might be used in traditional ceremonies, textiles may carry symbols with specific meanings, and pottery might serve as utilitarian vessels.
Carved Boat with mount, after treatment
Ethnographic objects often have what a conservator may call a record of previous history. As objects that are created with the intention of being used, they show evidence of that use. Preserving that history is a unique and vital aspect of treating ethnographic objects. The American Institute for Conservation addresses this concern in its Code of Ethics and Guidelines for Practice: "All actions of the conservation professional must be governed by an informed respect for the cultural property, its unique character and significance, and the people or person who created it."
Wall Hanging, fiber, shells and paint, after treatment
Woven Mask, fiber and paint, after treatment
Owl Mask, fiber, paint and feathers, after treatment
Associate Conservator Andrew Rigsby, who recently treated this private collection of items, shares his insights on the project. "Treating ethnographic objects has numerous unique challenges due to their methods of production and the functionality of the objects. The natural materials used deteriorate over time, not only from environmental factors but daily wear and tear. The pigments used are made from natural organic material; the issue with most ethnographic surface coatings is that they have little to no binder. The most difficult part of the treatment then becomes stabilizing the surface coatings without causing a change in sheen, but still securing the friable pigment layer."
"One of the other issues treating ethnographic objects is determining what is archival and what is damaged from recent disasters, in this case fire damage. Select objects were cleaned with buffered aqueous solutions and swabs, while others required cleaning with dry methods. Some structural repair was done where necessary using reversible materials"
"The most interesting part of treating ethnographic objects is researching the origin of the objects and their cultural significance. Understanding how the objects function helps inform the conservation process by providing context and material accessibility, as well as approximating age, is crucial to determining appropriate treatment."
Serpent Sculpture, wood and paint, after treatment
Carved Wood Shield, after treatment
This collection of ethnographic objects is from African, Pacific Oceanic, and Hispanic cultures; many of the items are from the Lobi people of West Africa and came from the country of Cameroon. The objects arrived at The Center after a fire. Soot had settled throughout the surfaces of the items and needed to be carefully cleaned. Beyond creating a layer of dirt and grime that obscures the original colors and details of the artwork, soot particles can react chemically with the object's surface, leading to discoloration, staining, and degradation. While the treatments may not be dramatic, prompt and proper cleaning and conservation measures are crucial to mitigate the damaging effects of soot on the artwork.
Tribal Figure on mount, after treatment
Male Figure on stand, after treatment
Figural Door, after treatment
Pitcher with Bird Motif, after treatment
Large Spear on stand, after treatment
Two Headed Figure, after treatment
Wood Stool, after treatment
Tigre Zitlala, after treatment, recto
Tigre Zitlala, after treatment, verso
Large Woven Mask, after treatment
Carved Wood Stool, after treatment
Small carved wood chair, after treatment
