L'Italo-Americano

L'Italo-Americano THURSDAY, JULY 9, 2026 www.italoamericano.org 6 NEWS & FEATURES TOP STORIES PEOPLE EVENTS ed States, there is no doctoral program specifically dedicat- ed to heritage science. What can the United States learn from Italy when it comes to conser- vation? Italy has a great deal to offer in terms of education and academic collaboration. Scientific and technical train- ing programs related to cul- tural heritage are highly spe- cialized. In addition, Italy and Europe have a strong tradi- tion of collaboration among research centers, universities, museums, and cultural sites. These kinds of partnerships are still less common in the United States. It is no coinci- dence that many scientific researchers working in major m u s e u m s – f r o m t h e A r t Institute of Chicago to New York's Metropolitan Museum of Art and the Getty itself – have an Italian education. I would estimate that at least 70% do. That is true not only for my generation but also for those that followed. In Italy, we essentially live in an open- air museum. It is natural for d i f f e r e n t d i s c i p l i n e s a n d areas of expertise to intersect in the protection of cultural heritage. A n d w h a t c a n I t a l y l e a r n f r o m t h e U n i t e d States? In the United States, insti- tutions such as the Getty and LACMA bring together cura- tors, conservators, scientists, a n d h u m a n i t i e s s c h o l a r s under one roof. This model remains relatively rare in I t a l y . T h e P i n a c o t e c a d i Brera is one of the few exam- ples, but it does not include i n - h o u s e s c i e n t i f i c s t a f f . Bringing different areas of expertise together within the same institution helps create a common language and fos- ters truly interdisciplinary research, something I would describe as very much in the spirit of Leonardo. Another key element is funding: pri- v a t e p h i l a n t h r o p y i n t h e United States is an extraordi- nary engine, almost like an interstellar rocket, and it does not yet exist at the same scale in Italy. At the same time, p u b l i c f u n d i n g r e m a i n s essential. You said that conser- vation is what makes the encounter between the public and a work of art possible. Can you give us an example? For me, it was a revelation to see conservators working on a painting in full view of museum visitors when I was still a student. The idea that a work of art is not immutable, but something living that requires care, was transfor- mative. Conservation is what truly makes access to works of art possible. Think of Van Gogh's Irises: if works like these remain in private col- lections, they can be exposed to greater risks. Conservation a n d r e s t o r a t i o n p r e s e r v e both their physical integrity and their accessibility. The same applies to archaeologi- cal sites. Without the work of archaeologists and conserva- tors, we would not be able to visit a Maya temple or a site f r o m M a g n a G r a e c i a i n southern Italy, because they would inevitably deteriorate. Has preventive con- servation become more important than restora- tion? Yes, it has become a cen- t r a l i s s u e . W i t h c l i m a t e c h a n g e a n d r i s i n g e n e r g y costs, preventive conserva- tion has become even more important. Through environ- mental management and risk prevention, such as protec- tion against fires, floods, and earthquakes, areas in which the Getty invests heavily, it is possible to safeguard a far greater number of artworks. This makes restoration more selective and targeted. Inter- ventions are carried out on s p e c i f i c w o r k s , o f t e n i n preparation for exhibitions, without creating hierarchies of value. Aesthetic restora- tion is approached more cau- t i o u s l y t o d a y b e c a u s e w e have a better understanding of the long-term effects of treatments and can evaluate more carefully whether they are truly necessary. What will be your pri- orities at the Getty Con- servation Institute? My initial priority will be listening. The Getty is made up of four pillars: the Conser- vation Institute, the Research Institute, the Foundation, a n d t h e m u s e u m s . C E O Katherine Fleming is also advancing the concept of One Getty, aimed at strengthen- ing collaboration across all parts of the institution. It is an approach I strongly sup- port because I have always worked well in multidiscipli- nary environments, where c o l l a b o r a t i o n p r o d u c e s results that are greater than the sum of their parts. What do you see as the most urgent challenges today? Two issues stand out. The first is preventive conserva- tion, which we will continue t o s t r e n g t h e n t h r o u g h research and training pro- grams around the world. The second is the application of artificial intelligence and machine learning to open knowledge. The Getty can play a leading role in con- necting and making accessi- ble not only its own data, but also data generated by muse- ums and cultural institutions globally. This is an area that requires careful attention to ethics and fair use, and for t h a t v e r y r e a s o n c u l t u r a l institutions have an impor- tant contribution to make. Casadio will return to Los Angeles in a leadership role, guided by a belief that has sha- ped her entire career: conservation is not only about preserving works of art, but also about making them truly accessible to present and future generations CONTINUED FROM PAGE 4 Casadio believes that conservation is about making art accessible to people, today and in the future (Photo: Eileen Molony)

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