Conservation

Question 1

3 Aspects of conservation

Answer 1

Preservation of artworks
Protect and prevent damage
Keeping the work in its original condition as long as possible

Question 2

Organic materials

Answer 2

Paper
Leather
Wood
Feathers

Question 3

Inorganic materials

Answer 3

Stone
Cement
Ceramic
Metals

Question 4

Handling and checking

Answer 4

• Using nitrile gloves
• Adequate viewing space b/w works
• Light levels
• Storage and display areas free from dust and toxic materials
• Security issues
• Regular conditions reports by curator

Question 5

Impacts of excessive light exposure

Answer 5

-Colors can fade
- Discoloration can occur
- Embrittlement can occur
- Cumulative and irreversible damage

Question 6

Textiles and paper (high-sensitive) LUX levels

Answer 6

50 LUX

Question 7

Oil paintings and wood LUX levels

Answer 7

150-250 LUX

Question 8

Ceramics, stone, glass LUX levels

Answer 8

up to 300 LUX

Question 9

Ways to minimise light damage

Answer 9

• Minimise UV, natural light
• Rotate b/w 1 month of display, 3 months of stroage
• Tungsten bulbs (low wattage)

Question 10

Lighting variations

Answer 10

• Track lighting
• Downlights
• Vertical tracking
• Spotlights
• Floodlights

Question 11

How are temp and RH measured?

Answer 11

Using a thermohydrometer

Question 12

Optimal temp

Answer 12

20 + or - 2 degrees

Question 13

Optimal RH

Answer 13

50% + or - 5%

Question 14

Impacts of high humidity

Answer 14

• gelatin layers of photos may swell and become sticky
• Mold, bacteria and fungi may grow

Question 15

Impacts of fluctuations in temp and RH

Answer 15

Expansion and contraction of materials, increases in cleavages (layers coming apart), cracking and tears
Embrittlement and discoloration may occur
High temps can accelerate chemical deterioration

Question 16

Impacts of insects

Answer 16

Can feed on organic materials e.g. paper, textiles
Insect droppings are unsightly, can stain and be acidic, so eat into surface

Question 17

Impacts of pests and rodents

Answer 17

Gnawing of artworks
Soiling of artworks, droppings

Question 18

Impacts of atmospheric pollutants and dust

Answer 18

Corrosion e.g. metal
Acid damage e.g. stone
Staining and soiling e.g. paper
Chemical reactions (tarnish silver)
Physical breakdown (textiles)

Question 19

What is mould?

Answer 19

Spores occur naturally and grow in RH levels above 70%
Lives on any material that is organic and offers moisture

Question 20

Ways to control mould

Answer 20

RH levels below 70%
Clean and well-ventilated storage areas

Question 21

Common e.gs. of atmospheric pollutants

Answer 21

CO2, nitrous oxide, ozone, particulate matter (dust and soot), smoke

Question 22

Ways to control atmospheric pollutants

Answer 22

Display cases
Frames (often w glass)
Glazes and varnish
Regular vacuuming and dusting
Weather-stripping on door frames to reduce entry of pollutants

Question 23

Ways to control insects

Answer 23

Non-toxic methods that leave no residue are favored
Special kind of plastic bag, oxygen is removed and replaced w nitrogen.
Object could be frozen at -20 degrees c for 2 weeks

Question 24

Ways to control pests and rodents

Answer 24

Cleanliness and general housekeeping
Traps and poison
Closing doors automatically to cafes and food sources

Question 25

Safe transportation of works

Answer 25

No margin for error when moving works- need to think ahead and address vulnerabilities.
Custom-built crates for sculptures and paintings, cushioned by inert foam to reduce knocks and vibrations. Crates have internal supports.
Security cameras, guards, couriers
Condition reports before and after by the curator
More than 1 one person using trolleys or rollers
Cushioning knocks
Reliable couriers such as Artwork Transport- Australian freight company.
Vehicles equipped with hydraulic tail lifts, air-ride suspension, CCTV, GPS tracking, climate control

Question 26

SAfe storage of works

Answer 26

Paintings- metal racks, steel cases
Sculptures and ceramics- shelving , cabinets, specialized vaults
Paper- solander boxes, mounting artworks in acid-free mount board and wrapping them in acid-free tissue paper

Question 27

Storage rooms

Answer 27

Avoid carpets
Sealed floor and wall surfaces
Table for examining objects
Appropriate light, humidity and temp
Storage furniture, shelving to allow cleaning underneath.
Powder-coated metal storage for wooden items
Shelving is at a safe height (heavy items stored lower)

Question 28

Handling methods

Answer 28

Cotton or Powder-free, nitrile gloves (hands contain harmful acids and oils which may damage certain artworks)
Plastic gloves used for glass, china or smooth polished objects (non-slip)
Avoid unnecessary handling
Regular condition reports
No jewelry (scratching or snagging)
OHS lifting techniques
Think ahead e.g. remove obstacles

Question 29

Where do pullutants come from?

Answer 29

Dust from building sites
Metal from tram tracks
Motor exhaust fumes
Concrete dust from construction which contains alkaline

Question 30

Effects of concrete dust

Answer 30

Abrasion

Question 31

Preventing damage while on exhibition

Answer 31

Signs telling viewers not to touch works
Cordons/ barriers
Buffer zones around works
Limited patron number
Children to be accompanied by adults
Security measures

Question 32

Preventing damage during installation

Answer 32

Specialized staff experienced in hanging works
3D works may be prone to accidental dropping, large sculptures will possibly come in sections for easier transport
Weight capacities and proper hanging systems, different types of screws and hardware, fixtures
Large elevators to move artworks
Trolleys, ladders

Question 33

Installation within commercial and non-profit galleries

Answer 33

Installation 2-3 days
Works may be repositioned
Gallery teams wash hands and wear cotton gloves