Conservation Flashcards
3 Aspects of conservation
Preservation of artworks
Protect and prevent damage
Keeping the work in its original condition as long as possible
Organic materials
Paper
Leather
Wood
Feathers
Inorganic materials
Stone
Cement
Ceramic
Metals
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
Impacts of excessive light exposure
-Colors can fade
- Discoloration can occur
- Embrittlement can occur
- Cumulative and irreversible damage
Textiles and paper (high-sensitive) LUX levels
50 LUX
Oil paintings and wood LUX levels
150-250 LUX
Ceramics, stone, glass LUX levels
up to 300 LUX
Ways to minimise light damage
- Minimise UV, natural light
- Rotate b/w 1 month of display, 3 months of stroage
- Tungsten bulbs (low wattage)
Lighting variations
- Track lighting
- Downlights
- Vertical tracking
- Spotlights
- Floodlights
How are temp and RH measured?
Using a thermohydrometer
Optimal temp
20 + or - 2 degrees
Optimal RH
50% + or - 5%
Impacts of high humidity
- gelatin layers of photos may swell and become sticky
- Mold, bacteria and fungi may grow
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
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
