Speaker: Dr. Patrick Hajovsky, Associate Professor, Art History, Southwestern University

Taking a critical perspective, I argue that Aztec "luxury" objects worn or held on the body linked valor and value to tonalli, the heat-life energy that manifests personality and fate, and yollotl, the heart, source of blood and center of human life. The Aztecs explored the equivalences and differences between luxury materials--lapidary, gold, feather--through synesthetic metaphors that tied visual art to Nahuatl poetry. Forms made of these materials further emphasize these essential connections between person and object, which allowed the object to become a surrogate of the owner's agency. This is important to consider in the Aztec economy of sacrifice and the logic of state of control.

Speakers: Morgan Burgess and Marci Burton, M.A. Students, Conservation of Archaeological and Ethnographic Materials, UCLA

This study focuses on a privately owned, autographed, first edition (c. 1959) BarbieTM doll made from poly(vinyl chloride) (PVC) plastic. Contrary to “sticky-leg syndrome”, where plasticizer migrates from the PVC and deposits to the surface as a tacky liquid, this doll exhibits a bloom of a fugitive, waxy, white solid on the legs from the mid-thighs to the ankles. In addition, the doll was autographed by Ruth Handler, the designer of BarbieTM and a cofounder of the Mattel corporation. Her signature and the date are now barely legible as the once sharp lines of ink have migrated within the PVC plastic.

Multi-spectral imaging and x-radiography were performed on the doll in order to non-invasively, non-destructively examine the plastic and gain an understanding of the manufacturing procedures. In addition, with collaboration from the Museum Conservation Institute (MCI) of the Smithsonian, computed tomography, Fourier transform Infrared spectroscopy, and Raman spectroscopy data were collected on the plastic components of the BarbieTM doll. The results collected from the analysis provided insight into the process of manufacture, material composition and structural integrity of the doll, as well as determined the agents of degradation and identified the waxy bloom compound observed locally on both PVC plastic legs, but absent on other plastic components of the doll. After the removal of the waxy bloom, the (c.1959) BarbieTM,  along with her clothing, accessories and case, was housed with archival materials and kept in a monitored environment to slow the degradation process and prevent another waxy bloom outbreak on the PVC plastic.

Speakers: Dr. Megan O'Neil, Associate Curator, Art of the Ancient Americas, LACMA; Laura Maccarelli, Andrew W. Mellon Fellow in Conservation Science, LACMA"

This presentation features the Maya Vase Research Project, a collaboration of LACMA's (Los Angeles County Museum of Art) Conservation Center and the Art of the Ancient Americas Program, which is studying Classic-period Maya ceramics in the LACMA collection . Using new technical imaging and a variety of analytical tools, this multidisciplinary research project is examining Maya vessels in new ways, studying materials and manufacturing techniques in relation to art historical, epigraphic, and archaeological analyses.

Speakers: Noemi Mafrici and Michela Mezzano, Ph.D. Candidates, Architecture and Landscape Heritage, Politecnico di Torino

This talk will present the first outcomes of the ongoing joint research project between POLITO and UCLA. The project "Cultural Heritage in context: digital technologies for the humanities" concerns the UNESCO campaign of the 1960s for the rescue of the Nubian temples that risked being flooded .The aim of the project is to reconstruct the lost context of the Nubia heritage and to visualize the relocation of the temples involved in the salvage campaign .The case of the temple of Dendur will be presented through its three contexts: the lost original Nubian landscape, the relocated space at the Metropolitan Museum of Art, and  the Virtual Reality reconstruction context.