 Elizabeth Salmon joined #TeamBACC in late 2023 as the organization's inaugural preventive conservator. Since this is a new specialty area for BACC, we sat down with Elizabeth to get her insight on what preventive conservation entails and how it can benefit all collection types. BACC: How do you define preventive conservation? Elizabeth: The goal of Preventive Conservation is to slow the natural rate of deterioration and keep art and cultural materials in their present condition for as long as possible. Rather than looking at singular objects, Preventive Conservation looks at the museum environment as a whole to anticipate agents of deterioration and strategize how to reduce or eliminate them. It takes a lot of knowledge about materials and how they age but also requires us to understand environmental factors, pollutants, pests, and how to prepare for natural disasters. Preventive Conservation is a more cost-effective and ethical way to preserve cultural heritage - since you’re limiting damage and degradation, you’re reducing the need for changes or repairs in the future! B: What was your pathway to preventive conservation? E: When I first started working in museums it became clear to me pretty quickly that Preventive Conservation is a much more accessible route to preserve cultural heritage. There are so many factors that influence where resources are directed for conservation treatment, and relying on interventive treatment alone doesn’t necessarily mean that diverse cultural heritage is preserved equitably. Early in my career, I trained at a museum in India that uses leaves that naturally repel insects to protect their collections from insect damage. Since the leaves are collected locally from abundant trees, it’s a very cost-effective and environmentally sustainable way to preserve collections. Seeing this made me excited to research more sustainable ways to preserve cultural heritage that are equitable and accessible to a broader range of cultural institutions and that became the inspiration for my PhD research. Since then, I’ve made it a point to continue my training at museums large and small and have seen that there are always passive ways to better preserve the collection. To me, the most sustainable and equitable options for preserving more cultural heritage well into the future all fall under Preventive Conservation, so focusing there was a clear cut decision for me. B: What are some of the biggest preventive conservation challenges in the western region? E: When I consult with collections stewards, I always stress that there are certain factors related to the preservation of your art and cultural items that matter every single day. These include moderating the environment (i.e. reducing fluctuations in temperature and humidity), regular housekeeping, and monitoring for pests. That doesn’t necessarily mean that you need to be actively working on negating these factors everyday, but you can and should have plans in place to make sure that there are no days where they are forgotten or ignored. For example, you can always collect environmental data, have a regular cleaning schedule for your space, and passively monitor for pests. These factors are all interrelated, and forgetting to maintain one can put you in an uphill battle in the other areas. That said, there are also challenges unique to the western region, such as earthquakes, wildfires, and (increasingly) flooding. It can be extremely overwhelming to consider all of the potential threats to your art and cultural collections - I am here to help direct your efforts to areas where small improvements can make a big difference in the future of your collection. That includes working with you to focus collections care efforts in a way that is manageable and sustainable for you or your institution. B: How can BACC members and clients benefit from your skills? E: My goal in Preventive Conservation is to meet institutions where they are and work with them to make the most of their time and resources when it comes to preserving their collections. I’ve trained at museums large and small with varying degrees of available resources, so I have lots of ideas about how to work with individuals and collecting institutions in their space to develop a collections care plan that works for them. I can advise on improving storage spaces on a budget, thinking through potential hazards when exhibition planning, and work with you to develop an emergency preparedness or integrated pest management plan. I also specialize in all of the not-so-fun aspects of stewarding art and cultural collections, like addressing pest issues and mold mitigation. My hope is to help you avoid it so you never have to see it! B: What excites you most about being part of Team BACC? E: My approach to conservation has always been rooted in the belief that conservators aren’t the one-and-only voice that matters when it comes to preserving cultural heritage. We have certain knowledge and skills related to materials and how they age, but knowledge from many different and diverse sources is needed to preserve cultural heritage. At BACC, we agree that our efforts to preserve cultural heritage are enriched by knowledge from diverse origins and community involvement and empowerment. I’m incredibly excited to be a part of a team that values collaboration and centers community-building in their mission! Elizabeth is fourth-generation San Diegan and a PhD Candidate in the UCLA/Getty Interdepartmental Program in the Conservation of Cultural Heritage. To learn more, check out her bio here. |