Field Trip to Ford Conservation Center

Blogger's Note: This semester students taking Care and Conservation of Textiles—a course offered through the University of Nebraska-Lincoln's Department of Textiles, Merchandising & Fashion Design—will share some of their experiences working with the International Quilt Study Center & Museum collection.

By Danielle Tucker

What is conservation? 

According to Webster’s Dictionary, “conservation” involves preserving, repairing, and preventing deterioration of archaeological, historical, and cultural sites and artifacts.

But how does one go about preserving repairing, and preventing deterioration on historical artifacts? 

Aiming to give us a hands-on experience with current conservation efforts, Carolyn organized a class outing to the Gerald R. Ford Conservation Center in Omaha. While the Ford Conservation Center is a regional conservation facility, it is also a part of the Nebraska State Historical Society. Because of this partnership, the center provides its services to an array of clients ranging from private collectors to public museums. The center itself staffs four conservators and two technicians who work together to draft treatment plan proposals, execute said object treatments, and provide object storage and display recommendation..

One key thing I learned from our trip is that conservationists are not appraisers. Their job is not to attach a value to an object; instead, their job is to treat every object they are given as if it were priceless. Many items that come through the center are family heirlooms; therefore, they many not have a high monetary value, but the sentimental value is priceless.

Overall, one thing I have really come to love about our Care & Conservation course is the amount of time we get to dedicate to hands-on learning activities. We are always given interactive ways to engage with the material we are learning in class.

The International Quilt Study Center & Museum makes its academic home in the Department of Textiles, Merchandising & Fashion Design in the College of Education and Human Sciences.

Why Deaccession?

Blogger's Note: This semester students taking Care and Conservation of Textiles—a course offered through the University of Nebraska-Lincoln's Department of Textiles, Merchandising & Fashion Design—will share some of their experiences working with the International Quilt Study Center & Museum collection.

By Danielle Tucker

The act of deaccessioning, which is the formal change in status of an item to officially remove it from the collection, is a taboo topic for many museums. Deaccessioning became a hot topic in the 1970s when many notable museums, such as The Met, experienced public backlash for their deaccessioning processes. Many thought the actions museums were taking when deaccessioning objects were not supported by set policies and procedures to ensure everything was being carried out in an ethical manner.

The key takeaway museums learned from this debacle was that the public wants to feel connected to the happenings at the institutions in their communities. The public wants to feel respected and appreciated. The way for museums to build that lasting relationship is by being as transparent as possible with their actions. Allow the public to see what it is you are doing, but be sure to explain WHY it is necessary.

So why do museums need to deaccession? 

The act of deaccessioning is necessary for the continual advancement of a museum’s collection. One of the biggest inhibitors for museums is s-p-a-c-e. Unless a museum has the land and funding to continually expand its building to house new objects, the museum must continually analyze its collection to see what items are no longer serving the mission of the institution. It’s inevitable, over time a museum will end up collecting items that do not fit its mission. On the flip side, museums will also attain better examples of pieces it currently owns. Items from both of these circumstances are perfect candidates for deaccessioning. By deaccessioning objects, a museum is able to keep itself relevant within the ever changing atmosphere of art and history.

Here is a quick look at how the deaccessioning process works. 
•  Unfold the quilt
•  Locate the object number tag
•  Find the coordinating paperwork for that object number
•  Begin filling out the deaccessioning form
•  Analyze the condition of the quilt
  -  look for tears, fabric decay insect damage, dye degradation, etc
•  Gently remove the object number tag and if a sleeve has been added, remove that as well
•  Photograph the quilt
•  Refold and box up

The International Quilt Study Center & Museum makes its academic home in the Department of Textiles, Merchandising & Fashion Design in the College of Education and Human Sciences.