- Track lighting - Downlights - Vertical tracking - Spotlights - Floodlights

Conservation Flashcards by Imogen Clarke

3 Aspects of conservation

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

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Organic materials

Paper
Leather
Wood
Feathers

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Inorganic materials

Stone
Cement
Ceramic
Metals

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Handling and checking

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

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Impacts of excessive light exposure

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

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Textiles and paper (high-sensitive) LUX levels

50 LUX

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Oil paintings and wood LUX levels

150-250 LUX

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Ceramics, stone, glass LUX levels

up to 300 LUX

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Ways to minimise light damage

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

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Lighting variations

Track lighting
Downlights
Vertical tracking
Spotlights
Floodlights

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How are temp and RH measured?

Using a thermohydrometer

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Optimal temp

20 + or - 2 degrees

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Optimal RH

50% + or - 5%

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Impacts of high humidity

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

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Impacts of fluctuations in temp and RH

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

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Impacts of insects

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

Impacts of pests and rodents

Gnawing of artworks
Soiling of artworks, droppings

Impacts of atmospheric pollutants and dust

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

What is mould?

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

Ways to control mould

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

Common e.gs. of atmospheric pollutants

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

Ways to control atmospheric pollutants

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

Ways to control insects

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

Ways to control pests and rodents

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

Safe transportation of works

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

SAfe storage of works

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

Storage rooms

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)

Handling methods

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

Where do pullutants come from?

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

Effects of concrete dust

Abrasion

Preventing damage while on exhibition

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

Preventing damage during installation

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

Installation within commercial and non-profit galleries

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