Part two of the Thursday May 30th collections care session started with a brief recap of Round 1 by Collections Care Network Chair Joelle Wickens. Introducing Round 2’s speakers, Kristen Overbeck Laise of Heritage Preservation and James Reilly of the Image Permanence Institute, CCN editor Rob Waller presented the session’s aims to offer opposing views on the role of standards in guiding collections care decisions.
In her talk titled Importance of Standards and Guidelines to Inform Preventive Conservation Initiatives in Museums, Kristen Overbeck Laise underlined the importance and benefits of collections care standards as ways of focusing performance goals, educating and motivating museum staff, and highlighting conservation’s role as part of a larger museum context. Laise provided a compelling argument in favor of the adherence to standards by pointing to guidelines cited in the American Alliance of Museums’ core documents, which include a collections management policy (http://www.aam-us.org/resources/assessment-programs/core-documents/documents). She also pointed out that museums accredited by AAM tend to have stronger collections care policies. However, Laise did note that the committee who oversees AAM accreditation is made up primarily of museum directors, rather than other museum professionals such as conservators – a surprise to me and I am sure others in the audience. Laise cited two other organizations who promote collections care standards, including the American Association for State and Local History (see their Stewardship of Collections Standards workbook online: http://www.aaslh.org/), as well as Collections Trust, a UK charity whose goal is to be a leader in the management and use of collections and technology in museums, libraries, and archives by 2015 (http://www.collectionstrust.org.uk/). In all Laise made clear that collections care standards are valued by the professional organizations that write the guidelines for best practices, and are considered important points of credibility and accountability for cultural institutions.
In his talk titled Standards Make us Myopic: We Focus on Specific Values at the Expense of Real Issues, James Reilly of the Image Permanence Institute argued that such prescriptive standards do not necessarily reflect the real needs of collections. Reilly provided an amusing analogy in the form of a Gary Larson cartoon (http://s173.photobucket.com/user/spn_imgs/media/blahblah.jpg.html), alluding to the fact that we tend to oversimplify the statements that are made in environmental standards publications such as Thomson 1978, 1986. The resulting De Facto standards we set for ourselves, Reilly argues, have not evolved over time, and have been applied to collections where they might not be appropriate. He also pointed to the fact that these publications were made before certain measurement technologies –like digital dataloggers – were available. Reilly points to what is important – actual documents, measurements, and the known vulnerabilities of specific collections – and to future trends such as risk management, and more active environmental management. Reilly offers PAS (Publicly Available Specification) 198: 2012 as an example of how standards are being increasingly used; in this specification, the manager is asked to prioritize from a list of risks and mechanisms of decay, based on their understanding of the needs and vulnerabilities of their collection (http://www.nationalarchives.gov.uk/about/environmental-standard.htm). In short, according to Reilly, standards are meant to inform us, but it is up to us to determine how to interpret and apply them.
The afternoon round of talks and subsequent group discussions were quite engaging, thanks to the compelling arguments made by both Laise and Reilly. I came away with a sense that there is truth to both sides – that standards do keep us focused on the fundamental importance of collections care, but that the decisions we make on how to care for collections are, with good reason, based increasingly on data and observation.
Year: 2013
TIMBUKTU NEEDS YOU NOW!
Last week, PMG members were challenged to participate in the rescue effort called T-160K Timbuktu Libraries in Exile and help raise fund to protect 300,000 precious manuscripts that were evacuated last year from Timbuktu in the midst of a civil war.
Our goal was to help raise $1500 for the preservation of 50 manuscripts; it was met a few days ago. To this day PMG members have contributed enough funds to preserve more than 60 manuscripts.
I am now challenging you, Facebook Friends of AIC, to join the fundraising effort. If each of you contributes just $1 to the campaign, you could help preserve 231 additional manuscripts!
Hurry up, there are only a few hours left to contribute and join this great learning adventure of the Timbuktu Libraries. To show your support, make your donation directly at http://www.indiegogo.com/projects/timbuktu-libraries-in-exile/x/3254149?c=home and “like” this posting.
How your contribution makes a difference:
All of the funding raised through the Indiegogo campaign will serve a single purpose: better accommodate the manuscripts (individual boxing, buffering and humidity control while maintaining mobility so that the manuscripts can be moved in the case of an escalation of socio-political strife in Mali) to lessen the risk of deformation and arrest microbial infestation that are imminent and will lead to very significant loss of substance.
Many thanks,
Sylvie Pénichon
Chair, Photographic Materials Group
American Institute for Conservation
41st Annual Meeting – Book and Paper Session, June 1, "Conservation and Encasement: 1297 Magna Carta" by Morgan Zinsmeister and Terry Boone
In 2011, senior conservators Morgan Zinsmeister and Terry Boone of the National Archives and Records Administration (NARA), thoroughly documented, conserved, and encased a copy of Magna Carta that dates to 1297. During his presentation at AIC’s 41st Annual Meeting in Indianapolis, Zinsmeister recounted the project. His presentation, which I’ve summarized in this post, beautifully illustrated the measures taken by NARA conservators to preserve documents and artifacts so essential to the history of our nation.
First drafted by a gang of rebellious barons in 1215, Magna Carta asserted the individual and property rights of its authors in opposition to the tyranny of King John of England (1166-1216). This document also addressed the fundamental principles of majority rule and due process that would prove essential to later charters. Magna Carta served as a precedent to the British Constitution, the Bill of Rights, Declaration of Independence, and U.S. Constitution.
Magna Carta, 1297 after treatment
Between 1216 and 1297, Magna Carta was reissued four times and copied many more. Today, 17 extant copies are known: 15 in the United Kingdom, one in Australia, and one in the United States, that is the copy conserved and exhibited at NARA courtesy of its current owner, David M. Rubenstein.
Magna Carta, 1297 is written Latin with iron gall ink and metal-point ruling on parchment. A sur double queue wax seal with parchment tag served as a closure. When the document was removed from its previous encasement–an anoxic acrylic case designed by Dr. Nathan Stolow at the Harry Ransom Center at the University of Texas at Austin–it was closely monitored for change as parchment is extremely sensitive to moisture and fluctuations in relative humidity. Once removed, Magna Carta was examined closely and its condition documented. It was during this examination period that conservators made the happy discovery that a portion of the text previously obliterated by water damage was made legible again through photography using ultraviolet radiation. To learn more about this discovery, see a past blog post by AIC’s own E-editor Rachael Perkins Arenstein.
Following thorough examination and documentation, a three-step treatment was devised that included removal of previous mends, reduction of adhesive residues, and humidification and flattening of the document in preparation for re-encasement. Magna Carta was first selectively surface cleaned. Next, adhesive residues were carefully reduced, old repairs removed, and acrylic-toned, handmade kozo (long-fibered mulberry paper) used to create new fills and repair tears. Prior to humidification and flattening, transparent polyester film was used to make outline tracings of Magna Carta to document any dimensional changes that might occur during treatment. Humidification was carried out using the damp-pack method and the document was dried under tension for several months to allow the moisture content of the parchment to reach equilibrium.
The tight environmental control required to preserve Magna Carta lead NARA staff to partner with the National Institute of Standards and Technology (NIST) in designing the new encasement. Together, NARA and NIST developed an anoxic (without oxygen) display that inhibits oxidative degradation to preserve the document as long as possible. A perfect collaboration!
Installation of Magna Carta, 1297 in its new encasement at NARA
To create the new encasement, NARA drew upon past experiences housing important documents and applied lessons learned from encasement of the Charters of Freedom: the Bill of Rights, the Declaration of Independence, and the U.S. Constitution. Magna Carta was scanned and its exact profile obtained to produce a custom support that would eliminate any strain to the document and protect it from damaging vibrations. A special paper with high alpha-cellulose content created by Timothy Barrett was used as a barrier between the document and the encasement’s metal support. Ultimately, this paper serves two functions: it works as a buffer to help maintain the desired relative humidity within the encasement and as a sort of non-invasive optical brightener. The whiteness of the paper barrier combined with the parchment’s translucency actually caused the document appear more luminous! Polyester film tabs with rounded edges hold the document in place. The encasement is fitted with o-rings to create a tight seal and a leak-detection system. Once sealed, the air trapped inside the case was flushed out using the inert, humidified argon gas to create an oxygen-free environment.
In March 2012, Magna Carta, 1297 was re-installed in NARA’s West Rotunda where it remains on view. When we take a moment to reflect upon the important role that historic documents like Magna Carta play in telling the story of a nation, their preservation becomes unquestionable and the essential nature of the conservator’s work is underscored. Thanks to the amazing work of NARA conservators Morgan Zinsmeister and Terry Boone, their collaborators at NIST, and David M. Rubenstein who brought the document to NARA and underwrote its treatment and encasement, the Magna Carta will be preserved for the education and enjoyment of many generations of visitors to come.
To learn more about the exciting story of Magna Carta’s preservation, visit NARA’s website or YouTube channel to view videos on the treatment and the encasement.
41st Annual Meeting – Objects Session May 31, “Bringing History to Life: Reproducing a Worthington Steam Pump from the USS Monitor” by William Hoffman, The Mariners’ Museum
One of the most remarkable things about the field of Conservation is its ability to bring together art and science, cutting edge technology and time-honored skills to preserve original historic or artistic works while gaining new insights into how they were produced and making them more accessible to everyone.
These aims seem very much at the heart of the remarkable project presented by William Hoffman in his paper which described the process of studying the manufacturing techniques of a Worthington steam pump excavated from the shipwreck of the historic ironclad USS Monitor which sank in 1862 and building a full scale working replica.
The two original Worthington steam powered water pumps from the Monitor, the earliest known examples of their type, are in remarkable condition considering the nearly 140 years spent in a marine archaeological context before their recovery in 2001. The pumps are nearly finished conservation and will be placed on display at the Mariners’ Museum USS Monitor Center, but the extensive corrosion of the cast iron and copper alloy parts has left them in a fragile condition. The project began to take shape out of the desire to convey the original movement and function of the object to the public in a way which was far more immediate than a computer simulation could achieve alone. I thought this seemed intriguing, and particularly poignant in a digital age when high quality digital renderings have become omnipresent.
Hoffman explained that by conserving, studying and documenting the evidence of the original materials and the molding, metal casting, fabrication, and machining processes used, an approach to making the replica was formulated, using a combination of traditional technical and art metal casting techniques, and the use of modern 3D scanning, CAD, and 3D FDM (force deposition modelling) printing techniques to aid in the pattern and mold making. No less important is the final machining of the parts, made easier by the use of modern computer driven CNC tooling. The resulting replica is well underway and it’s hoped that the fully working replica will be operational in the near future.
Hoffman’s talk was very engaging and made use of digital drawings, animations, and video footage of the replication process, all of which helped to relate a detailed process in a way which was easy for the audience to follow. The enthusiasm of the author and the team of conservators, museum staff, volunteer researchers, 3D scanning and printing specialists, metal casters, machinists, and industry representatives who had helped to make the project a reality came through clearly, as did the high level of interest in the use of the replica pump for multiple educational programs, highlighting the need for conservation of our shared heritage and the information and experiences it can bring to light.
41st Annual Meeting – Joint Textiles and Wooden Artifacts Session, June 1, “Challenges and Compromise: Preserving the Miller House Textiles, by Kathleen Kiefer”
Kathleen Kiefer, who was until recently Senior Conservator of Textiles at the Indianapolis Museum of Art (IMA), gave the final talk of the joint Textiles and Wooden Artifacts session on upholstery. The talk, “Challenges and Compromise: Preserving the Miller House Textiles,” was written with IMA Director of Historic Resources, Bradley Brooks, and IMA Scholar in Textile Conservation, Wendy Richards, was a fitting end both to the session and to Kathleen’s time with IMA, as it brought together many strands of conservation, preservation, and presentation.
The Miller House in Columbus, IN was designed in 1957 by Eero Saarinen and Alexander Girard (who did the interiors) for J. Irwin Miller and his family. Mrs. Miller lived in the house until her death in 2008. In 2009 the house was acquired by the IMA. IMA administration decided that the house should be opened to the public by 2011, which gave the conservation/curatorial team a huge challenge.
Kathleen reviewed the design of the house, showing how the architects (and landscape architect Dan Kiley) connected the interior, exterior and landscape design, partly through the use of natural light through large windows and skylights. She pointed out, of particular interest to this audience, that the house is believed to have the first designed conversation pit. She also talked about how Girard’s fondness for textiles and folk art were an important part of the design of the house.
The IMA team began by deciding on their conservation philosophy for the house. Should they interpret it to 1957? Would it be better to interpret it as it exists today? In part because of the limited time in which to prepare the house for the public, they decided to show it as it is today, taking a conservative approach and not doing anything irreversible. Kathleen noted that the public seems pleased with this approach. She mentioned one scholar who said he was pleased to see original, if worn, Eames chairs, because if he wanted to see new ones, he could go to a Herman Miller showroom!
Among the issues they have addressed so far are access and light levels. Public access, in the broadest sense, was an issue for the surrounding community, as the house is in a neighborhood. The neighbors did not want an increase in traffic and parking problems. As a result, all tours of the house begin from the town’s Visitor Center; visitors are taken by small buses to the house. On the more local level, the IMA team decided to create a “tour path” through the house, using new runners. They chose a light color for the runners and created some wider areas as “gathering areas,” where visitors would stand to look and listen to the docent. In a creative, but extremely practical way, they used craft paper to make mock ups of where the runners would go and how they would be sized.
To reduce light levels, they have added uv-filtering and light-reducing film to the windows. They have begun to monitor the environment using PEM dataloggers.
Before the house went to the IMA, the Miller family took or sold some of the furnishings and sold the art work. Thus, the house was somewhat bare when it was acquired. To rectify this, IMA has been purchasing similar pieces.
On the other hand, the family did leave quite a few pieces that they had no longer been using in the garage/barn. Kathleen described a project in which they removed carpets from the barn, documented and accessioned them, vacuumed them, and re-rolled them properly. For the time being, they had to return these pieces to the barn, but are working to find a better long term solution for their storage.
IMA Textile Conservation Scholar Wendy Richards has worked as a woven fabric designer and weaver. As part of her work, she produced graphs of the weave structures of some of the fabrics. She also helped with commissioning some reproduction carpets from Edward Field. This aspect of the project was particularly intriguing to me.
Many in the audience had been to the Miller House as part of the AIC tour to Columbus earlier in the week. I was not among them and, after hearing and seeing this talk, regret that I was not. I will look forward to learning more about how IMA preserves and interprets this house, as well as to seeing how this work relates to preservation/interpretation work being done on other modern houses, such as the Eames House in Los Angeles.
AIC 41st Annual Meeting – Contemporary Art Sessions, May 31, 2013, “When Conservation Means Stapling: Touring an Unsupported, Unglazed, 9ft x 21ft, Oil Paint Stick on Paper to Three Venues by Joan Weir”
Joan Weir, conservator at the Art Gallery of Ontario, gave an informative Contemporary Art Session talk about the exhibition of Richard Serra’s 9’ by 21’ oil paint stick on paper, Untitled, 1974. She presented information about Serra’s working methods, and discussed challenges that conservators may encounter when working with oversize contemporary works of art on paper. I was particularly interested in learning about the process she used to mount the two horizontal sections of the drawing directly onto the wall with staples, because I had experienced the more modest challenge of how to mount an unglazed, unframed 8’ by 6’ contemporary charcoal drawing on a gallery wall.
Untitled, 1974, predated Serra’s use of the “bricks” he created from the individual oil paint sticks to facilitate the application of his medium. In 1974, he was still using individual oil paint sticks. When Weir unrolled the drawing from the 7’ storage tube, she observed that the oil paint stick medium on the upper sheet of paper was still flexible and in good condition, but had milky areas that appeared to be bloom.
After 30 years of being rolled, the paper remained strong enough to exhibit. The recto of the bottom sheet was disfigured with yellow stains. Since it contained no drawing media, Weir obtained permission from Serra to display the unstained verso side of the bottom sheet instead of the recto.
Untitled, 1974 had been exhibited without glazing or a frame less than four times, and had staple holes along the edges from the prior installations. Weir explored alternative hanging methods and finally embraced the idea of using standard 3/8” staples applied with a manual stapler. Prior to exhibition, she mended preexisting staple holes with Japanese tissue and a dry starch paste as needed. Post exhibit, she removed the staples with a Bosch staple remover, after inserting a protective Mylar strip beneath them.
To establish a safe procedure for the installation process, Weir created mockups of the same size as the drawing and practiced installing them. She determined that a courier team of two people was required to install and de-install the drawing, and used the same team and procedures for each of the three venues. The installation process also required 16’ of clear floor space in front of the wall, two scissors lifts, eight technicians, and shutting down the HVAC openings. A collapsible, portable raised work surface composed of Gator-board on folding tables “went on tour” with the rolled drawing. The stapling process was entrusted to a member of the Serra Studio team.
The installers practiced the installation two or three times at each venue prior to attempting the actual mounting of the drawing. They used tape on the wall to guide the placement of the drawing.
Weir described the installation procedure to AIC meeting attendees while she showed a video clip of the drawing being mounted on the wall. Seeing the actual process was very helpful. I hope she will add the video clip to the electronic version of her article as a valuable resource for anyone with a similar installation project.
During the first exhibit, she said that a sagging pouch formed along the top edge of the paper. By acclimating the drawing in the exhibit space overnight and refining the installation technique, she was able to prevent gaping by the third venue. The staples held very well.
Weir noted that the exhibited drawing accumulated many dust fibers and hairs, which she attributed to the HVAC systems. The requirement for constant supervision by a security guard prevented all but one touch incident, which she found remarkable.
Weir stated that this project had a number of high risks, especially the possibility of permanent damage from improper handling during the installation and de-installation process. Using the same people and procedures reduced the risk. This consistency was supported by all of the museums, the artist, and his studio, and it helped ensure the safety of the drawing.
This cooperative spirit extended to the relationship between the artist and the conservator. Weir respected Serra’s intent for how his work should be viewed. Instead of trying to promote traditional conservation ideals of how paper should be displayed, she worked to find the safest way to display his art without glazing or a frame.
Stapling art to the wall isn’t the first thought that comes to my mind when thinking about optimal exhibition methods. Contemporary art often requires unconventional approaches. Weir developed a workable solution that protected the drawing while allowing viewers to experience Untitled, 1974 as the artist intended.
41st Annual Meeting, Textile and Wooden Artifacts Session, June 1. "Treatment of a Suite of Baroque Revival Style Seating Furniture by Genevieve Bienisoek, Biltmore
There’s a growing body of publications which detail the features of well-provenanced period upholstery. Such case studies are extraordinarily important for comparison when one is examining upholstery layers on historic seating furniture. In this presentation, Genivieve Bienisoek walked us through her examination and treatment, working together with Anne Battram and Nancy Rosebrock, of a chair and settee from a suite of 12 chairs and 2 settees.
This was one of a number suites which were purchased or produced to furnish Biltmore, a 250 room house built by George Washington Vanderbilt III, completed 1895, and opened to the public in 1930. The pieces in this group of seating are ornately carved, in the style of Italian sculptor Andrea Brustolon (1662-1732), and covered with an embossed velvet, referred to as gauffrage. This particular fabric has a linen ground with a wool pile, and was fairly coarsely woven. The design in the velvet was created with a hot roller pressed into the nap. Apparently this was a popular pattern which was once quite common and produced in France, Great Britain and the United States by a number of companies. Though the fabric had originally been bright gold in color, it looked grey-green due to fading and color shift. Genivieve took note of a second fabric – an unstamped wool plush which was used in less visible places, such as under the arms. This fabric was also gold in color but had a thicker pile and a tighter weave. Both fabrics appeared to have been used originally on the chair and settee as no extra nail holes were noted during de-upholstery of the seating furniture.
More than half of this suite had been re-upholstered in 1976, according to the records, when they were placed in Biltmore’s Music Room. One chair has been left untreated for future reference and research.The aim of this treatment was to return the chair and settee to return them to a nearly new appearance.
Genevieve also made mention of some other features of the chair and settee. Removable pieces of the chair were held with spring clips and slots and screws. The entire back panel of the settee is removable, held in place with turn buckles. The mortises for the arms were slightly larger than necessary to allow for shimming to adjust the level of the ams, ensuring they were horizontal.
After documenting the various upholstery layers and fasteners, she used chalk to track where nails had been removed, and compared it to the show cover, to ensure there had been no empty nail holes. She filled flight holes and other losses in the frames, and inpainted scratches. Re-using existing tack holes, a new linen layer was applied over the exposed original upholstery layers, to a act as an isolating layer against the new show cover and to act as a sewing base.
To ensure that new holes won’t need to be added in future campaigns, she added staples around the spring clip plate to provide a stronger means of attachment of this linen cover. Future campaigns are sure to happen sooner than they might otherwise since Biltmore has no climate control and it is not uncommon for windows to be opened in the house. Everything gets handled and cleaned regularly.
Polyester batting was added to the front of the seat to re-establish the proper shape.
The reproduction show cover was woven by the French firm Prelle. They had the pattern for the gauffrage in their archive. On seeing the reproduction fabric, Genvienve noted that there are actually three levels of stamping in the fabric, adding detail and depth to the design. These details were also in the original fabric, but were difficult to see because of the dirt.
The show cover was stitched to the linen isolating layer with curved needles. Though the trim was originally applied with hide glue, Genievieve used a hot melt adhesive to adhere the reproduction trim, obtained from Heritage Trimmings in the United Kingdom.
If you’re like me, you’re looking forward to the published version of this presentation, which, I’m sure, will be complete with images of the hardware and schematics of the various upholstery layers.
41st Annual Meeting – Contemporary Art Session, May 31, “Modern Ruins Restored: The Conservation of Monday, Wednesday, Saturday” by Tasia Bulger
Placed in a storage facility for 24 years and severely damaged, the polyurethane foam, wood, and pigmented plaster sculptures “Monday, Wednesday, Saturday” presented an excellent challenge for Tasia Bulger, Claudia de Hueck Fellow at the National Gallery of Canada in 2012.
Created by the Canadian artist collective General Idea, “Monday, Wednesday, Saturday” was one of General Idea’s works based on ruins or fragments “excavated” from a mythical pavilion. The original three components traveled during the 80’s between Basel-Switzerland, Eindhoven-Netherlands, Toronto-Ontario, and Montreal-Quebec. However were damaged during transit and the artists eventually chose to rebuild the sculptures in Toronto, leaving the original sculptures to be destroyed in Eindhoven. The rebuilt sculptures were composed of blocks of polyurethane foam on a wooden base, covered with multiple layers of pigmented plaster, and sanded down to resemble camouflage. The sculptures were shipped to the final venue by truck in skeleton crates with insufficient support, ultimately causing more damage. They were exhibited in Montreal, placed in storage in 1986, and never shown again, however in 2010, were donated to the National Gallery of Canada (NGC).
During her fellowship, Tasia spent the year researching these pieces and possible treatment avenues, and then commencing treatment. The sculptures had severe cracking propagating from their tops, delamination, and the visible foam was crumbling, friable, and discoloring. The NGC team’s primary fear was that the entire interior of the sculpture was deteriorating in a similar manner. Initial analysis and examination lead the team to believe the foam was of an ester-type polyurethane foam, which degrades through hydrolysis and would lead to the plaster detaching from the foam.
Additionally, the NGC team was left instructions from Felix Partz, the original member of General Idea credited with designing and building the sculptures, for how to repair Monday, Wednesday, Saturday. The instructions, from 1994, stated that “Cornucopias: the large Cornucopias could be destroyed or else repaired with the repairs left visible in white or off-white plaster.”
Due to these initial considerations, and not wanting to destroy them, the team investigated the possibility of foam extraction, knowing that all research and testing leading up this treatment would provide lesser-invasive alternate possibilities, influence final treatment decisions, and provide information to the conservation community. A mock-up was then used to test producing an exo-skeleton to provide support to the plaster surface if the foam was removed. Cyclododecane (CDD) was found very useful isolation layer and temporary facing adhesive for this matte, uncoated multi-colored surface, where any solvent contact would have resulted with tidelines. This would then be coated with a stronger facing adhesive. During exoskeleton testing, Tasia actually found that the CDD, even with layers of butyl methacrylate and saran wrap on top, the CDD was sublimating directly into the plaster mockup, and determined it would not suffice as a long term solution for this type of object.
TIP: While CDD begins to cool and solidify once removed from the heat source, Tasia found that it was best applied with scraps of polyurethane packing foam and tongs, since polyurethane has excellent thermal insulation properties.
However, upon further investigation into the foam, the NGC conservation team found that the foam was actually an ether-type polyurethane, susceptible to photo-oxidation and thus was not degrading as rapidly as thought. From this information and with further ethical consideration, it was determined not to extract the foam and chose the lesser invasive option within Felix’s parameters.
Final treatment consisted of consolidating the plaster surface with Aquazol 500, an isolation layer of B67, and filling the cracks with a mixture of Primal AC 35, hide glue, calcium carbonate, and fine glass beads. This treatment is still in progress and future exhibition will be limited to the National Gallery of Canada.
One question requested more information about General Idea, which can be found in The Canadian Encyclopedia, who apparently also predicted reality TV and Facebook. Another question was concerning health and safety of Cyclododecane, in regards to an image of Tasia applying CDD to the sculpture in which she was wearing gloves with a fume extractor over the sculpture. Since there are no current published safety standards for exposure to the chemical, the inquirer suggested a look at an AIC news article, which the author believes may be the 2006 Health and Safety article “Some Chemical Things Considered: Cyclododecane”.
I, personally, thought it was an excellent and informative talk- and of course rather fun to hear about an artist collective that began their career by turning their home’s storefront window into fictitious locations as a joke 🙂
AIC 41st Annual Meeting – Research and Technical Studies Session, May 31, “Artificial Aging of Paper-Based Cores Wrapped in Various Isolating Layers for use as Archival Storage Supports by Amy Williams and Catherine H. Stephens”
When faced with a budget dilemma for oversize mining maps storage, Amy Williams, project conservator at the University of Pittsburgh, asked herself “the $13,500 question:” Is there a benefit to using an archival 12” diameter storage tube core versus a non-archival 12” core wrapped with an isolating layer?
It would be easy to assume that archival cores were significantly better, well worth the extra $13,500. However, when faced with the substantial cost difference, Williams decided to conduct a scientific research project to determine the most cost-effective and preservation-friendly rolled storage system for the 5’ by 15’ maps of the Consol Energy Mine Map Preservation Project. She and her co-investigator, Dr. Catherine Stephens, presented their results on May 31, 2013 during the Research and Technical Studies Session of the AIC annual meeting.
If Williams and Stephens could prove that there was an acceptable, more affordable alternative to archival tubes, the news would be of great benefit to cultural institutions, collectors, and conservators. I was eager to hear their results.
Williams partnered with Stephens, Senior Research Scientist at the Art Conservation Research Center, Carnegie Mellow University (now at Yale University) for the investigation. They studied four types of tubes and six wrapping options suggested by conservators: no wrapping, polyester film, Tyvek, Marvelseal 360, heavy weight aluminum foil, and tissue paper buffered with 3.5% calcium carbonate. For the cores, they selected two archival tubes with different adhesives (sodium silicate versus a blend of polyvinyl alcohol and polyvinyl acetate), a non-archival core of kraft paper with an unidentified adhesive, and a Quik-Tube concrete pouring tube composed of recycled paper and a polyvinyl acetate/acrylic adhesive.
In the experiments, the maps were simulated by using Whatman #1 filter paper. The use of Whatman #1 paper versus historic papers was discussed in another 2013 RATS talk by Bill Minter and John Baty, “The Role of Polyester Film Encapsulation—With and Without Prior Deacidification—On Paper Degradation, Studied During Long-Term, Low Temperature Aging.” Minter and Baty chose historic papers for their research. I think it would add to our understanding if Williams and Stephens conducted a second phase of their research using commercially available papers or naturally aged historic papers to compare with the Whatman #1 results.
Their test samples, each consisting of a “map,” an isolating layer (or none), and a core, were aged at 90˚C and 50% relative humidity in an oven for up to 24 weeks.
The researchers’ first discovery was the unexpected impact of the adhesive, which caused staining on the tubes at the seam gaps between the narrow strips of paper comprising the tubes. This staining transferred onto the Whatman paper “maps.”
To prevent this problem, Williams recommended obtaining seamless tubes by asking the manufacturer to skive the edges of the paper. She also emphasized the importance of knowing the composition of both the paper and the glue of the cores.
I wonder how problematic the adhesive would be during a natural aging process or during a lower temperature artificial aging, and hope the researchers will consider exploring this in the future.
Williams and Stephens reported that the linen ties on the samples caused staining during the aging process. They switched to rare earth magnets, which caused no reported problems. Would a lower temperature during testing have prevented or reduced the problem with the linen ties? If this is a significant problem at all temperatures, linen ties may not be appropriate for rolled storage.
The experiment produced more unexpected results. The researchers evaluated the effects of the cores and isolating layers on the “maps” by measuring the chain scission of the cellulose, the yellowness, and the pH of the “maps.” I was surprised to learn that both the Tyvek and the Marvelseal 360 actively promoted degradation, yellowing, and a lower pH.
The aluminum foil, polyester film, and buffered tissue offered varying amounts of protection, depending on the type of core used. The best isolating layer overall was the heavy weight aluminum foil, and the best wrapper for the kraft tube was polyester film.
I wondered if the high temperature during aging might be responsible for the poor performance of the Marvelseal and the Tyvek, and whether the heat caused chemical changes within these two films. How much of the unexpected results overall was caused by the elevated temperature? Would similar results occur during natural aging at room temperature?
The researchers did speak about this issue. Stephens said that they chose the high temperature for artificial aging to ensure detectable changes, and stated that more research was needed lower temperatures.
From what I understood about the test results that Williams and Stephens presented, it seemed that wrapping a non-archival core with heavy weight aluminum foil could give comparable results to using an archival core. I would like to know more the amount of difference they saw, and hope they will offer a detailed discussion of this in their article about the research.
The results of their experiment have caused me to question my own assumptions about the storage materials we use. I hope Williams and Stephens will continue their valuable research, to determine what results are typical at lower temperatures and answer some of the other questions they raised during this first phase of the investigation.
41st Annual Meeting – Wooden Artifacts Session, May 31, “Schooner Virginia: Addressing Inherent Issues in Ship Restoration” by Nicole Wittig
As a furniture conservator who was fascinated by sailing ships in his childhood, and spent many hours carving and building ship models, I was eagerly awaiting Nicole Wittig’s presentation on the preservation efforts regarding the schooner Virginia, which is currently in a storage shed at the National Civil War Naval Museum in Columbus, Georgia.
Looking forward to the mechanics of a ship’s restoration, I soon realized that this talk was going to address a much more fundamental issue that conservators face on a near daily basis: what aspect of an objects history should be brought back, and how will that affect the viewer’s perception of the object. How should the Virginia, a vessel that was significantly altered over time, be restored and ultimately perceived?
Beginning her talk with a historic narrative, Ms. Wittig described Virginia as a sailing vessel built on the eastern shore of Mobile bay in 1865. Utilizing historical records, Ms. Wittig related how a series of ads appeared in 1866 in Mobile papers, mentioning ships of a very similar tonnage and description. She surmised that the Virginia was probably constructed not from plan, but by local master shipbuilders, and had been designed to service the region’s oyster fishing fleet. Decades later, in the 1930‘s, it was mentioned as one of four such vessels in the Historic American Merchant Marine Survey (HAMMS), and recorded as a fishing vessel now working the west coast of Florida. The Depression Era HAMMS endeavor was significant since it was designed to record the disappearing American wooden sailing fleet, before the such vessels would be replaced by ones built of metal with engine propulsion. As such, the survey went into great detail regarding Virginia’s physical description and included construction drawings and photographs. I was especially taken by a photograph of the schooner, which depict it with twin masts and sails. It immediately brought back memories of a challenging childhood project, to build an accurate wood model of a Gloucester schooner, and the many hours I lovingly spent carving masts and fitting thin cotton to simulate sails.
The Virginia continued its service as a fishing vessel in the Gulf of Mexico over the following years, and was discovered by the Coast Guard in 1967, naming it to be the oldest operating fishing vessel in continuous service. When retired in 1990, Virginia had achieved a remarkable 127 year operational career. It was then purchased by the National Civil War Naval Museum, in the desire to preserve the vessel as an example of a Civil War blockade runner. Ms. Wittig went on to mention that definitive documentation regarding this possible aspect of the vessel’s life has not yet been fully discovered.
The following portion of her talk was devoted to documenting Virginia’s overall and interior dimensions, which are a length of 55’, a breath of 14’, and a draught of 3’, considerably larger than any object this conservator has treated. One approach to this task involved the taking of hand measurements and producing Adobe Illustrator drawings. Another approach utilized Total Station, a terrestrial laser scanner, noting millions of exterior points, which then permitted one to create a 3D image of the vessel. Although this technique does not lend itself to measuring interiors, it was able to produce striking multidimensional images, as seen in Ms. Wittig’s Power Point presentation.
Virginia’s current condition was also noted. One of the major preservation issues that has developed since the vessel has been out of water since the year 2000 has been the drying out of the timbers. This has led to dimensional changes in the wood, such as the keel twisting, necessitating not only the vessel’s cradling, but also the drilling of holes through its breath, and the installation of long metal rods to stabilize the structure. Sections of wood exhibit splintering and dirt and debris are now found in the wood crevices, retaining moisture and leading to wood deterioration. Although Virginia is stored in a covered shed, metal components are degrading, such as the rudder, which exhibits gross corrosion, with the metal delaminating in sheet-like sections. What was immediately striking to this conservator was the apparent lack of an ongoing maintenance program for this vessel, permitting these conditions to fester.
The presentation closed with an outline of the various preservation choices and goals that will need to be decided upon. If Virginia is designated as a Civil War blockade runner, would that not disregard its long fishing history? Were it to be reconstructed to its sail configuration, would that not also negate its engine propulsion history? And if other choices are made, such as preserving it as the longest operationally running fishing vessel, where would the money for its preservation come from, if the Museum of Civil War Naval History decide to deaccession it? Noting these challenging issues, Ms. Wittig suggested basing any decision on the HAAMS survey, since it provided the most thorough and reliable documentation for the vessel.
The Q&A afterwards was lively, with questions regarding tracking the name of the vessel, Virginia’s possible Civil War involvement and conservation costs.
All in all, a welcome revisit to an aspect of my childhood!