Workshop « Digital Prints: Identification and Preservation » – Porto, 29 février-3 mars 2012

Posted on janvier 28, 2012

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Le site de l’INCCA (International Network for the Conservation of Contemporary Art) annonce un workshop dédié l’identification et la préservation des impressions numérique. Vous trouverez ici le pdf de présentation, comprenant la description suivante de l’atelier :

 20|21 Conservação e Restauro, a Portuguese contemporary art conservation studio, has invited Martin Jürgens to teach a 4 day course aimed at professional conservators.

Digital prints are omnipresent today in professional photography, art, archives, but also in everyday life. The different printing techniques and the materials of the many different kinds of prints can be difficult to tell apart, however. And how should digital prints be included in museum databases, mounted for exhibition, housed for storage, or even restored?

Overview In this Masterclass, Martin Jürgens will share his extensive sample collection of digital prints as a basis for learning the history, techniques and preservation of digital prints. Topics will include:

– History of digital printing and use of digital prints today

– Identification of digital prints, from major (such as inkjet) to obscure processes

– Deterioration of materials found in digital prints: substrates, colourants, coatings

– Testing for longevity: interpreting artificial ageing test results

– Solutions for exhibition, storage, and disaster recovery

– Restoration treatment experiments on digital prints

– Contemporary mounting and finishing systems such as face-mounting, rigid supports, and laminates

Sessions will blend theory with extensive identification practice. Participants are encouraged to bring their own case studies for group discussion, allowing them to apply what they learn to the problems each one faces in their conservation practice.

Le titre de l’atelier reprend le nom de la publication de l’intervenant : Martin C Jürgens, The Digital Print: Identification and Preservation (Los Angeles: Getty Conservation Institute, 2009).

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