Student Blog: National Museum of Asian Art

​I am completing my third-year internship at the newly rebranded National Museum of Asian Art (NMAA) in Washington DC. A member of the Smithsonian Institution, the building hosts two collections under one roof. Established in 1923 and preparing for its centennial year, the Freer collection displays exemplary items from across Asia and the near East collected by the connoisseur Charles Lang Freer over the course of his lifetime. The Sackler collection was established in 1987 with an inaugural donation from collector Arthur M. Sackler of 1000 objects including outstanding Chinese jades and bronzes. The museum maintains an active exhibition schedule with international reach.

​As an objects conservator with a preventive conservation minor, my goal for this internship was to be involved in as many different conservation related activities as possible. I've helped with condition assessments of stone, ceramic, glass, metal, and composite objects requested for exhibitions, assisted with a survey of the museum's pichwai collection (large, painted textiles celebrating the life of the Hindu god Krishna), and spent time working with a unique example of Cambodian bronze dating to the 12^th century. One of my long-term projects is the treatment of a 17^th century Chinese lacquer screen that is scheduled for exhibition in 2023. Comprised of twelve panels depicting a “spring morning at the Han palace," the screen is decorated using the “kuan cai," meaning incised colors, technique. The black lacquer substrate is carved to produce an image and the incised areas are decorated with pigment or gold to complete the design. 

​The lacquer itself is in remarkably good condition considering the age of the screen. Treatment activities focused on paint stabilization, consolidating and filling significant areas of lacquer loss, and aesthetic compensation of previous fills that distract from the overall appearance of the screen. Paint consolidation is time consuming work, using small brushes to apply adhesive to the edges of paint losses to ensure that the remaining paint is adhered to the substrate. Each step required close examination and long hours spent with the object, meaning I got to know the panel and its construction, design, and specific condition issues very well. I was able to complete treatment work for one panel and will assist with the final aesthetic unification of the whole screen.

​My time at the National Museum of Asian Art has taught me a great deal about material cultures and art histories that were new to me, about the many roles a conservator plays across the museum, and about the importance of collaborative thinking in all aspects of my work. Perhaps the most affirming lesson is a newfound confidence in my professional intuition. As an emerging professional, it is rewarding to see my original ideas and contributions welcomed in discussions about object treatments and collection care planning. This internship is the culmination of the hard work and study that filled my time at WUDPAC, and I look forward to carrying my skills both new and practiced into the future.

— Allison Kelley​, WUDPAC Class of 2022​