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<p>[QUOTE=&quot;2manybooks, post: 4416475, member: 8267&quot;]There is nothing to stop someone from hanging out their shingle as a conservator/restorer. AIC, the professional organization in the US, has argued about more formal certification for years. But the efforts have failed largely because of the number of routes people may take to enter the field, some through the academic programs, some through traditional apprenticeships, and others being self taught. If there is a dearth in mid-range services, it may be because there is a lack of demand, at least at a level that a practitioner would find financially sustainable.</p><p><br /></p><p>A significant percentage of Americans are notoriously indifferent to history, including the preservation of art and artifacts. Obtaining funding for preservation efforts is a constant struggle. A culture demonstrates what it cares about by what it is willing to pay for.</p><p><br /></p><p>One middle ground, well covered in the leaflets I mentioned and some books written for popular consumption, is &quot;preventive conservation&quot;. This approach focuses on preventing damage in the first place, or at least preventing a condition from getting worse. Unlike the exterior of buildings which are exposed to extremes of weather, most artwork and historic objects are kept indoors where there is a greater ability to modify and control their environment. (Outdoor sculptures are an exception, and pose unique difficulties.) Conditions do not need to be &quot;pristine&quot; - by which you probably mean unachievable. Understanding the harmful effects of light, excessive heat, fluctuating relative humidity, and pests can lead to relatively simple interventions - avoid hanging your artwork where it is exposed to direct sunlight or heat from a radiator; inspect your valuable wool rugs regularly, to detect any infestation; carefully dust and vacuum regularly; use air conditioning and humidification (if possible) to try to maintain more stable RH; use archival quality storage materials for artwork not on display; etc.. </p><p><br /></p><p>There is no point investing time and money in a conservation treatment if the artwork is going to be returned to the conditions that contributed to the damage in the first place.</p><p><br /></p><p><u>Caring for Your Collections</u>. Arthur Schultz, ed. Harry N. Abrams, 1992. ISBN 0810925583</p><p><br /></p><p><font size="4"><u>Sotheby&#039;s caring for antiques: A guide to handling, cleaning, display, and restoration</u>. Conran Octopus, 1992. ISBN 1850293376</font>[/QUOTE]</p><p><br /></p>

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