For Kelly Walker, damage is relative, and there can be better kinds of damage than others: was the work nibbled at by mice, for example, or treated carelessly by a collector? He also invoked Walead BeshtyРІР‚в„ўs Copper Surrogates series, in which the РІР‚СљdamageРІР‚Сњ-the oxidation of copper surfaces due to extended contact with the administrative team of the gallery, as they used them as desks-was part of the work itself. In an effort to reconsider the pejorative character of the word РІР‚Сљdamage,РІР‚Сњ sometimes РІР‚Сљdoing it wrongРІР‚Сњ makes it РІР‚Сљcome out right,РІР‚Сњ Scheidemann remarked, referring to the work of Ryan Sullivan. The conservatorРІР‚в„ўs role is represented by the arc that spans the life of the artwork-and Scheidemann made the important point that artworks most often come to the studio during a change of ownership. The arrow of time runs through this life, as the object accumulates history-РІР‚СљcontemporaryРІР‚Сњ definition notwithstanding. Scheidemann presented a diagram illustrating the РІР‚Сљlife of the artwork,РІР‚Сњ from the objectРІР‚в„ўs initial creation through its often transitory life: traveling with art handlers, being displayed at gallery exhibitions, being bought by collectors or by museum collections. The curator of the symposium and its first speaker, Christian Scheidemann introduced the dayРІР‚в„ўs themes as well as some key issues arising from Contemporary ConservationРІР‚в„ўs experience in the studio. It represents the point where art is conceived, made and its trajectory begun and in some cases during its life, destined to find itself in a conservation studio.Р”В¬hristian Scheidemann РІР‚вЂњ The New Role of the Conservator Furthermore, as a symposium that addresses the РІР‚Сљlife of an artworkРІР‚Сњ- as Christian Scheidemann would describe next-it is apt that the event be hosted by School of Visual Arts. Nesin pointed out two aspects of this symposium that make it unique and constructive: the interpellation of value in the discussion of contemporary art conservation and the curatorial perspective of a private practice studio. The second was about Robert Rauschenberg, his cardboard constructions in the early 1970s, and his response to an incredulous collector who said, РІР‚СљIРІР‚в„ўm supposed to invest in that?!РІР‚Сњ РІР‚вЂњaccording to Nesin, Rauschenberg replied, РІР‚СљHow much did you pay for your car? How long do you expect it to last?РІР‚Сњ One was about Willem de Kooning achieving that РІР‚СљgloopyРІР‚Сњ surface of his paintings with mayonnaise in the 1950s: an unusual and highly perishable addition to Art, perhaps the beginning of a new world of conservation problems that now range from the chemical and biological to the digital. In his opening remarks, Jeff Nesin, Provost of School of Visual Arts, recounted two historical anecdotes that could serve as the origin myth of the contemporary issues that compelled this symposium.

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