Conservation pt 2

Question 1

Moulds

Answer 1

• mould spores occur naturally where RH is above 70%, dark areas, poor ventilation
• mould are fungi that live on almost anything that can offer moisture and organic nutrients (eg. paper, wood)
• prevent –> keep display + storage areas clean + well ventilated, keep RH below 70%
• mould causes breakdown of physical structures of a work (paper) and can become very soft and spongy, liable to disintegration, often irreversible surface staining (foxing)

Question 2

Atmospheric pollutants and dust

Answer 2

• cause deterioration
• commonly found atmospheric pollution (sulphur dioxide, CO2, nitrous oxide, ozone, particulate matter = dust, soot) –> motor exhaust fumes, building sites
• corrosion (metals)
• acid damage (stone)
• staining and soiling (paper)
• chemical reactions (lead based pigments, tarnishing silver)
• physical breakdown (textiles)
• prevent –> display cases, frames and glazing for flat works of art provide considerable protection
• concrete dust settling on oil paintings –> abrasion
• regular vacuuming + cleaning
• weather stripping

Question 3

Insects

Answer 3

• capable of attacking artworks
• feed on organic materials (textiles, paper, wood)
• insect droppings = stain + can be acidic
• prevent –> place artwork in plastic bag and oxygen removes, replaced with nitrogen or frozen around -20 degrees for 2 weeks

Question 4

Pests

Answer 4

• mice, rats, rodents capable of gnawing or soiling works
• rodents attracted to dark, cluttered, undisturbed areas therefore cleanliness and good housekeeping in all areas is vital
• traps and poison can be used
• galleries with cafes/ food service can attract pests

Question 5

Storage areas

Answer 5

• specifically constructed for this purpose + designed to provide optimal levels of temp, RH, air purity
• works kept in dark
• no works stored directly on floor as they can become waterlogged in event of flooding
• ease of access to protect from physical damage
• regularly monitored to ensure potential problems are identified and remedied asap
• 1:3 rotation
• storage systems use stable, inert, chemically inactive materials
• solander boxes w archival acid free paper

Question 6

Holding + quarantine area / condition check

Answer 6

• temporary storage area for objects/ works that need to acclimatise to new surroundings
• condition reports kept up with + record all observations + details of treatment
• if any fungal/ insect activity, must be eradicated before taken out of quarantine

Question 7

Acclimatisation

Answer 7

• hot –> dry = sealing in clear plastic + perforated over time, slow exchange of moisture to surroundings, closely monitor to ensure mould does not form

Question 8

Storage systems

Answer 8

• custom solander boxes (light tight, acid free archival paper lined, chemically inert material)
• wood crates for sculptures
• inert foams to support any small objects / sculptures

Question 9

Transportation

Answer 9

• custom build crates provide physical protection from knocks + vibration, changes in temp, RH + light
• condition reports required from conservator or registrar
• major works = accompanied by courier
• multiple experienced staff moving works
• CCTV, suspension systems, hydraulic tail lift, climate control, GPS tracking
• crates made to size with internal supports using timber, strips of foam to protect from vibration
• Artwork Transport = freight company in Aus

Question 10

Conservation and contemporary art

Answer 10

• contemporary = non-traditional materials
• some don’t want artworks preserved

Question 11

Handling & checking

Answer 11

• cotton and nitrile gloves
• adequate viewing space
• trolleys for heavy works
• foam blocks under work when acclimatising

Question 12

Light

Answer 12

• light damage causes colour to fade, paper to discolour + become embrittled
• light damage is cumulative + irreversible, accumulation of light damage over time
• types: flood, spotlight, downlight, vertical tracking
• tungsten low wattage bulbs

Question 13

Temp + RH

Answer 13

• expansion + contraction –> increases in cleavage, cracking, tears
• chemical reactions –> breakdown of materials

Question 14

Restoration

Answer 14

• ethical considerations = whether restoring a work will take away from original integrity
• stabilisation, cleaning, repair, restoration, reattachment, frame treatment are steps to restoring a work

Question 15

On exhibition

Answer 15

• barriers, cordons, alarms
• buffer zone around sculptures w plinths + cases + vitrines
• security guards
• limited number of ppl in space
• knocks, slips, multiple hand touching is avoided

Question 16

Instillation

Answer 16

• experienced staff to hang works
• works may come in components
• proper hanging system
• different weights need different screws b/c weight capacity
• large elevators, trolleys, ladders

Question 17

Instillation in commercial / non-profit

Answer 17

• takes 2-3 days
• artworks are repositioned –> regular handling is common
• wash hands regularly, gloves