Category: Allied Organizations

Twitter, Emojis, and the 10 Agents of Deterioration by Mariana Di Giacomo

Mariana Di Giacomo – @MarianaDGiacomo

Being on Twitter is extremely fun for me. People are hilarious and I’m constantly learning from those I follow. As a paleontologist, I am drawn towards fossils, and Twitter is no different. I follow paleontologists, museums, and even SUE the T. rex. I also have another interest, and that is conservation of museum collections. This makes me also follow conservators, organizations, and anyone who tweets about these topics.

A while ago, I signed up to manage the account @RealScientists, hoping to get the word out about my work in #FossilConservation. This account has over 66,500 followers, and these numbers increase weekly with every person curating the account. The idea of doing this felt exciting, but also scary because I was afraid I was not going to be able to manage speaking to such a huge audience. When one of the admins of the account contacted me, I was super happy to have the opportunity to share my work.

Curating the account means you can tweet as often as you want for a whole week. You are free to do polls, engage in Q&As, talk about your science, and even about yourself. It is a great way for others in the Twittersphere to know you, and to learn from you. I tweeted mostly about my experience in paleontology collections, but also focused on conservation.

There is one tweet in particular I want to share because I did not expect it to be so popular, and for people to be so interested. It was a tweet about the 10 agents of deterioration. My idea was to make the tweet accessible to those not working in conservation, by using emojis. This proved to be an excellent choice; the tweet has 330 likes, 146 retweets (plus 25 retweets with comment), and was seen by more than 32,000 users. Who knew people would be so excited about preventive conservation and collections care?

Image by Mariana di GiacomoImage by Mariana Di Giacomo

The most exciting part was not only seeing the likes and retweets, but reading and replying to comments. I kept tweeting that day about the different agents of deterioration, and even though those tweets were not as popular as the main one, I received comments on them as well. People were intrigued by the effects of light, as well as by the effects of temperature and relative humidity. The agent “thieves and vandals” felt odd to one user, who thought this was no longer an issue in museums. Money and budgets was also a topic of discussion, as well as participation of conservation professionals when deciding construction and renovation projects. Emergency preparedness and involvement of the inside and outside community were touched upon, and people responded positively. It blew my mind how interested people were in these topics.

One of the short conversations I enjoyed the most was about education in conservation. An educator asked how to support students interested in these topics, and I gave her some suggestions for success in the field, but ended up talking about advocacy for diversity in conservation. This brings me to the last thing I want to talk on this post: the importance of social media.

I know this has been spoken about a million times, and those managing accounts for museums and collections say this all the time. However, all of us working on conservation need to be more active if we want to inspire change. From the 330 likes I had on the post about the agents of deterioration, many came from conservators and museums, but a lot came from people outside the field. People are fascinated by treatments’ “before and afters”, but they also care about collections. Bringing communities into the backstage is something we should all do, and should do more often. In a single week, I had over a million views of my tweets, from people from all over the world. This shows how powerful social media can be for outreach purposes, and why we should be more involved.

Tell people about what you do. Be humble. Recognize when you don’t know something. Be open to comments and suggestions. Learn when to disconnect. Have fun. Inspire. Those are the things I learned during this week. If you’re on Twitter, you should consider signing up for something like this. If you’re not, what are you waiting for?

The London Gels in Conservation Conference: Michelle Sullivan, “Rigid polysaccharide gels for paper conservation: a residue study”

Gels in Conservation Conference, October 16-18, 2017
Gels in Conservation Conference, October 16-18, 2017

This blog post is part of a series of observations about the London “Gels in Conservation” conference co-hosted by the Tate and IAP (International Academic Projects, Ltd).  In mid-October, over the course of three days, some 41 authors presented research, techniques and ideas on gels in conservation.  The talks were excellent, and I’ve focused on four that were notable for the wide range of materials treated and challenges faced. They ranged from coating/grime removal from a giant sequoia tree cross section, to dirt and varnish removal from Delacroix wall paintings, to removal of repairs from a fragile felt hat from a 18th century ship wreck, and an experiment comparing residues left behind by various gels on paper.

Sullivan's research questions
Sullivan’s research questions

The fourth talk I wanted to highlight is Michelle Sullivan’s “Rigid polysaccharide gels for paper conservation: a residue study” — of particular interest to me as a paper conservator.  It was one of the few studies exploring quantitatively if residue is left behind by gels used in the treatment of works on paper.  If so, did how does that residue impact the paper?  To easily track residue on the paper samples, fluorescein dyes visible in UV light were added to the gels tested.  The experiment used agarose, gellan gum and methyl cellulose gels in three different concentrations applied to three different papers for three different time periods.  In addition, a few variables were added to mimic treatment, such as applying the gels through Japanese paper and clearing the gels using a damp swab.  Besides surface examination, cross sections of the samples were also taken to see if the gels were penetrating the paper surface. The cross sections seemed to suggest that gellan gum was being absorbed into the paper.  Sullivan found that all the gels tested left a residue, with gellan gum apparently leaving behind the most. She found that applying the gels through a Japanese paper barrier was the most effective method in minimizing residue.  After oven aging for 21 days, the rag sample treated with gellan gum darkened slightly, while all the other samples did not.  Sullivan proposed that the darkening might be related to the gelatin content of the rag test paper.  She plans to expand her test variables and continue to build on this research.  This feels like very important research and I eagerly await to results of the next phase of her work.

image of the gels & papers used in experiment
Gel residue experiment set-up.

This blog series is a result of receiving the FAIC Carolyn Horton grant to help me attend the conference. I would like to gratefully acknowledge the FAIC for helping make it possible for me to attend this important conference.

 

The London Gels in Conservation Conference: Jonathan Clark, “Revisiting a shipwrecked felt hat for Chatham Historic Dockyard Trust: a multidisciplinary approach”

Gels in Conservation Conference, October 16-18, 2017
Gels in Conservation Conference, October 16-18, 2017

This blog post is part of a series of observations about the London “Gels in Conservation” conference co-hosted by the Tate and IAP (International Academic Projects, Ltd).  In mid-October, over the course of three days, some 41 authors presented research, techniques and ideas on gels in conservation.  The talks were excellent, and I’ve focused on four that were notable for the wide range of materials treated and challenges faced. They ranged from coating/grime removal from a giant sequoia tree cross section, to dirt and varnish removal from Delacroix wall paintings, to removal of repairs from a fragile felt hat from a 18th century ship wreck, and an experiment comparing residues left behind by various gels on paper.

2.Image of felt hat during treatment using gel and spider tissue to remove old repair.
2. Image of felt hat during treatment using gel and spider tissue to remove old repair.

Jonathan Clark’s presentation, “Revisiting a shipwrecked felt hat for Chatham Historic Dockyard Trust: a multidisciplinary approach” featured a really cool felt hat from a 1758 shipwreck. The project resulted in an unusual opportunity for collaboration between a textile and an objects conservator–both bringing needed experience to successfully treat the hat.  In the past, the object had been treated aggressively with layers of synthetic materials and heavy cardboard fills.  The hat was misshapen as a result of the thick repairs, making it difficult to fully see the original object.  The treatment objective was to release the fragile felt hat from its past repairs and reshape it to its intended form without harming the object.  Acetone softened the thick unknown adhesive, so both acetone vapor and solvent gels were used to release and reduce the adhesive. The acetone solvent gel was applied through spider tissue, a very soft and strong paper (100% manila fibers).  Once in place, the spider tissue was pre-wetted with methylated spirits, then the gel was applied via spatula, which was then covered with plastic wrap to slow evaporation.  Once the old repairs were removed the hat remained misshapen, to further soften the remaining adhesive holding the felt hat out of shape, it was placed in an acetone vapor environment.  The softened pliable hat was then weighted and pinned to a Fosshape form, a shrinkable polyester felt, used by textile conservators to create mounts.  The end result was an object that was stable and could safely be stored showing only its original materials.

Felt hat after treatment pinned to Fosshape form.
Felt hat after treatment pinned to Fosshape form.

This blog series is a result of receiving the FAIC Carolyn Horton grant to help me attend the conference.   I would like to gratefully acknowledge the FAIC for helping make it possible for me to attend this important conference.

FitzHugh donation to the South African Institute for Heritage Science

FitzHugh Collection - Retha Grundlingh, faculty memberIn February 2017, a notice appeared in the Conservation DistList, offering to donate the conservation library collection of the late Elisabeth FitzHugh. This kind offer had been extended by the FitzHugh sons, Thomas and William.

At the time, the South African Institute for Heritage Science was excitedly anticipating the launch of its newly accredited, postgraduate program, “Technical Conservation Studies”. A faculty member – having seen the ConsDistList notice – recognized the express value and favourable timing which attended the offer, and brought it to the attention of the Institute’s governing board. A written application was soon brought, requesting to be considered as recipients. Less than two weeks later came the delightful news: The FitzHugh family had decided to favour this institution and its nascent, postgraduate programme – a gracious nod to a milestone achievement for South Africa’s conservation domain.

For our institution, the value of this gift – comprising of nearly 150 books and a considerable number of journals – lay in equal parts in the FitzHugh Collection cabinets - SAIHSCwell-timed addition to the Physical Sciences library, and in the keenly sensed encouragement which inevitably attends such a generous and open-handed gift. The FitzHugh gift was also notable for being the first donation of any kind received by the Institute in its 25 years of existence, and accordingly had a palpably outsize effect on morale! (As a private provider of higher education, the Institute is not funded or subsidized by the State or any other benefactor.)

One year later, and with the postgraduate program already in full swing, the FitzHugh name has been formally conferred on the Institute’s entire conservation library, now collectively referred to as the “Elisabeth FitzHugh Collection”. The clearly marked book cabinets not only actively serve the needs of the program and students, but also pay elegant homage to a remarkable and prescient career in conservation. Our institution’s deepest and most sincere appreciation extend to the FitzHugh family, also as a respectful tribute to all whom had known and loved the evidently remarkable Elisabeth West FitzHugh.Campus entrance - 2016

Adriaan Botha, Chairman of the Board
The South African Institute for Heritage Science and Conservation 
Faculty of Physical Sciences
Faculty of Commerce
www.sainst.org

Registered as: The South African Institute for Heritage Science (Pty) Ltd. Registration Number: 2015/317414/07
An institution of Postgraduate Higher Learning (Higher Education Act No. 101 of 1997)

 

The London Gels in Conservation Conference: Lu Allington-Jones, “Giant sequoia: an extraordinary case study involving Carbopol gel”

Gels In Conservation
Gels In Conservation

This blog post is part of a series of observations about the London “Gels in Conservation” conference co-hosted by the Tate and IAP (International Academic Projects, Ltd).  In mid-October, over the course of three days, some 41 authors presented research, techniques and ideas on gels in conservation.  The talks were excellent, and I’ve focused on four that were notable for the wide range of materials treated and challenges faced. They ranged from coating/grime removal from a giant sequoia tree cross section, to dirt and varnish removal from Delacroix wall paintings, to removal of repairs from a fragile felt hat from a 18th century ship wreck, and an experiment comparing residues left behind by various gels on paper.

Giant sequoia section displayed in the central hall of the Natural History Museum
Giant sequoia section displayed in the central hall of the Natural History Museum

The first session of four, “Giant sequoia: an extraordinary case study involving Carbopol gel”, was presented by Lu Allington-Jones and was intriguing for several reasons: the object was enormous–5 meters (over 16 feet) in diameter. The size alone produced significant challenges, for which solvent gel was particularly suited.  The scale meant that it would be treated in situ in full view of the public, thus potentially exposing patrons to chemical fumes; it would require large amounts of materials to treat; and it was at the top of an open staircase, meaning significant height came into play, as well.  The giant sequoia cross-section had been on continual display since 1894, so it was incredibly dusty, had a darkened and cracking lacquer coating, and had a very friable bark around its perimeter.  A material was needed that could safely remove the failed coatings and accumulated dust without penetrating the surface, harming the friable bark, or creating an unsafe environment for the conservators and patrons during treatment.  Using a solvent gel had the advantage of keeping the solvents contained, reducing solvent vapor, and could act as a poultice to reduce grime and solubilize the failed coating.  In addition, because gel ensures contact with the treated surface, it means that a lower concentration of solvent could be used as compared to a free liquid solvent.  The gel was made 24 hours ahead in Ziploc baggies, the time allowed the gel to reach the needed smoothness and viscosity.

Applying solvent gel from zip-lock baggie (left). Removing solvent gel after treatment (right).
Applying solvent gel from plastic baggie (left). Removing solvent gel after treatment (right).

For application, the Ziploc bags were cut open at one end, the gel squeezed out and spread to 20 mm thick (about ¾”), then covered with plastic wrap to slow evaporation, giving the conservator about an hour of working time before the gel became too sticky and unworkable.  Once the gel softened the coating, it was then removed trowel-like with a piece of cardboard, repeated, then cleared with industrial methylated spirits and wipes.  A significant lesson learned about the gel was once it reached 73F or more, it became runny, causing the gel to slip off the vertical surfaces being treated, which didn’t allow enough working time to reduce the surface coating adequately.  Once treated, the cross section was varnished with a protective layer of Laropal A81. The cross section looked amazing in the after images.  I would encourage everyone to read the article in the post prints as it describes the details of challenges, decision making, and final outcomes.

This blog series is a result of receiving the FAIC Carolyn Horton grant to help me attend the conference.   I would like to gratefully acknowledge the FAIC for helping make it possible for me to attend this important conference.

 

Introducing Untold Stories

I’m delighted and excited to introduce Untold Stories, a project aimed at pursuing an art conservation profession that represents and preserves a fuller spectrum of human cultural heritage. With generous funding from the Andrew W. Mellon Foundation, Untold Stories’ mission is “to expand the existing ethical framework for art conservation by engaging new voices and hearing new stories that transform our understanding of the preservation of cultural heritage. We seek to recognize and conserve a broader range of cultural heritages; embrace a more diverse set of conservation practices and practitioners; and affirm the deep emotional connection between objects and sites of cultural heritage and the communities that claim them.”

Untold Stories will pursue this mission by engaging the voices of visionary leaders and thinkers within the arts, cultural heritage and allied fields whose work offers transformative approaches to storytelling, representation and preservation. Between 2018 and 2020, Untold Stories will hold public events at each of the next three annual meetings of the American Institute for Conservation of Historic and Artistic Works featuring thought-provoking conversations with artists, arts administrators, activists, poets and scholars. All events will be professionally videographed and made available on the project site soon after they take place.

The 2018 AIC meeting in Houston will feature a panel discussion on “storytelling as preservation” with Deana Haggag, President and CEO of United States Artists, MacArthur award winning artist Rick Lowe, and queer migrant poet and cultural organizer and activist Sonia Guiñansaca. This event is free and will be held on Wednesday, May 30th, 2018, from 4:30 to 6pm at the conference hotel. (For more information, please visit https://www.untoldstories.live/houston-2018/). This event is also now listed in the AIC Program.

Another key component of Untold Stories is to create paid opportunities for emerging professionals to assume leadership roles in the development and implementation of the project’s programming. The project is currently seeking two assistants for 2018. Any interested conservation students or recent graduates of a program are invited to apply. The deadline for applications is January 20th.

Thank you all for your support, and see you in Houston!

Sanchita Balachandran
Project Director, Untold Stories

Call for Papers – Cultural Heritage Management (and conservation!) Sessions – ASOR 2018

Hello Fellow Conservators,

My session co-chair, Glenn Corbett, and I are are seeking abstract submissions for the Cultural Heritage Management session(s) of the American Schools of Oriental Research annual meeting, which will be held in Denver, Colorado, November 14-17, 2018. This session welcomes papers concerning all aspects of archaeological conservation and heritage management in areas throughout the Near East. For the 2018 meeting, we are especially interested in presentations focusing on:

  • conservation and preservation activities
  • engagement and education of local communities (including topics involving site museums and visitors’ centers)
  • site management planning

Interested speakers should submit a title and abstract (max. 250 words) by February 15, 2018. Please see ASOR’s call for papers and instructions for submission here: http://www.asor.org/am/2018-call-for-papers/.

You may send inquiries or questions to Suzanne Davis (davissL@umich.edu) and Glenn Corbett (joeycorbett@yahoo.com).  Please consider submitting! The ASOR annual meeting is primarily attended by archaeologists, and it is a wonderful venue for professional outreach about archaeological conservation.

 

Layer by Layer Conference Review

VDR-Abstract-Schicht-CoverFrom June 9th – 11th 2016, an interdisciplinary conference for conservators, curators, and art scholars was held in Kassel, Germany, organized by the paintings specialty group of the German Association of Conservators (Verband der Restauratoren VDR) and the Museum Landscape Hessen Kassel (Museumslandschaft Hessen Kassel). The conference’s topic “Layer by Layer – The significance and aesthetic of the surface” (Schicht um Schicht – Die Bedeutung und Aesthetik der Oberflaeche) aimed to give an extended view on various types of objects focusing on surfaces in all their facets and raised thought-provoking questions. What importance do we ascribe to the original surface when we look at an object? What impact do irreversible conservation treatments have on our aesthetical perception of an object? How do conservators, curators, artists, and visitors observe, describe and interpret surfaces?

On the one hand, observations and interpretations happen through visual and scientific examination, based on experience and analysis of conservators and scientists. On the other hand art historians analyze objects and their surfaces in their historical context. Perception psychologists who also participated noted that these kinds of different interpretations are not just a result of a profession or particular methods, but are also influenced by individual interests and especially individual perception.

The title of the conference already implied that the talks wouldn’t just scratch the surface, thus not just give a superficial overview of an objects surface, but rather go in depth. Presentations and following conversations discussed how various layers and sometimes damages within them affect the character of the surface – intended or not.

Furthermore, the variety of presented objects, speakers from different fields of conservation and speakers from other disciplines showed the broad range and importance of the topic: surface. The conference offered a platform for participating experts from various fields to discuss their experience and opinions. However, it also showed us that we will continue to struggle with defining and describing specific appearances, causes and effects as we face the limitations of our individual perceptions and terminology. Lastly, the conference highlighted the importance of continuing conversations across fields, where accurate and clear terminology can be incredibly beneficial. Ultimately, improved communication and understanding will benefit the object, its preservation and presentation, and is nevertheless essential for our decision making process.

 As most of the conference was held in German, this English summary has been provided to encourage and support a transnational exchange of ideas and information. The following outline is based on the conference’s booklet with its short abstracts, notes taken by the author of this post and a German review written by Cornelia Peres and Dirk Welich. For more specific information please contact info@restauratoren.de.

Outline

  • Anne Harmssen: About finiteness of immaculately beautiful surfaces
  • Nathalie Baeschlin: Fragile and precious – tense painting surfaces of the 20th century
  • Dr. Helmut Leder: Perception of art from an empirical aesthetic research point of view. Is it a question about style?
  • Dietmar Wohl: Assertions about surfaces of paintings in the theories of conservation and restoration
  • Dr. Martina Sitt: Still not close enough? Problems about exchange of knowledge between art history and conservation
  • Sybille Schmitt: Systematic tools and resources to determine and evaluate surface and structure on baroque paintings
  • Cornelius Palmbach: Active Thermography – visualization of damages and hidden structures in paint layers and other coated surfaces
  • Theresa Braeunig: Crucifix – reconstruction and composition of a late Gothic work using 3D-technology
  • Susanne Litty, Mira Dallige-Smith: Brilliant sh(r)ine – the complexity of original and alteration shown on a North Indian miniature-altar as an example
  • Thomas Kraemer: Changes in a paintings surface through thinning or removing varnishes. An example from the Gemaeldegalerie Alte Meister in Kassel
  • Joerg Klaas: “Like greyblue painted surfaces” – Alterations of ultramarine containing paint layers in easel paintings
  • Linda Haselbach, Dr. Albrecht Pohlmann: Efflorescence, blanching, protrusions – Fatty acid dissociation and lead soap building in oil studies by Adolf Senff
  • Andreas Krupa: Reconstruction as a conservation treatment? – Sheen and color of a furniture surface with mahogany-appearance
  • Andreas Hoppmann: Varnish separation on a triptych by Bartholomaeus Bruyn the Elder
  • Sabine Formanek: A surface that is polished with “chalk and water and a piece of felt till it appears like glass” restoration of a tabletop with a transfer decoration
  • Jonathan Bikker: What’s so funny about impasto? Arnold Houbraken’s lampooning of Rembrandt’s use of texture in perspective; Talk given in English
  • Stefanie Lorenz: Conservation of River scenery by Jacob Philipp Hackert, 1805. A method for a layer selective varnish removal
  • Babett Forster, Romy Koenig-Weska: The portrait as a palimpsest. Layer by layer in scholar portraits from Jena
  • Felix Muhle: Delicate sheen: Polished white bole in abbot Anselm II.  “Wohncabinet” in cloister Salem, Southern Germany
  • Eva Bader: Surface cleaning of the installation Barraque D’Dull Odde by Joseph Beuys at the Kaiser Wilhelm Museum in Krefeld, Germany
  • Franziska Bolz: Shoe-paste, sand and fire – artificial aging as a part of Tingatinga-paintings from Tanzania (East Africa)
  • Caroline von Courten: The Photographic Surface as Interface in mixed-media photo-works: Layers of materials, processes and meanings in Ger van Elk’s Dutch Grey, 1983/84
  • Dr. Dietmar Ruebel: Handcraft and machine aesthetic – surfaces as internal memory of 20th and 21st century art
  • Helena Ernst: The Keep by Mike Kelley at the Museum Brandhorst, Munich, Germany

The conference opened with an introduction given by Justus Lange, who demonstrated how different surfaces are perceived nowadays and how they have been perceived in the past. By discussing initial ontological issues of surfaces, he showed how relative and subjective the appraisal process of a surface can be and thus, prefaced the first session of the three-day long, interdisciplinary conference.

Anne Harmssen: Von der Endlichkeit makellos schoener Oberflaechen
Anne Harmssen: About finiteness of immaculately beautiful surfaces

Anne Harmssen presented in the first talk of the conference a three dimensional object by contemporary artist Carola Keitel called O 11 (Objekt 11). Her work perfectly represented the conference’s theme and showed how essential the material properties – and therefore surface and texture can be essential for an object’s meaning. Harmssen described Keitel’s meticulous method of treating the object’s metal surface, in which she has used a regular trashcan and transformed it to an artwork with an absolute pristine surface. Due to a damage on the object, Harmssen was confronted with the question whether or not and how to repair the damage in an immaculate surface. The artist herself saw the integrity of the piece compromised and hence the object itself destroyed. Harmssen, who is also owner of the object, decided not to follow the artist’s suggestion to grind the entire surface down, therefore recreating a pristine and perfect surface again, but rather decided to conduct a localized treatment. The talk was followed by a discussion as to whether the existence of this particular object is founded on its surface and can only be justified by its immaculate state and whether the object’s integrity and perfection is more important than its history.

Nathalie Baeschlin: Fragil und prezioes – spannungsvolle Gemaeldeoberflaechen des 20. Jahrhunderts
Nathalie Baeschlin: Fragile and precious – “tense” painting surfaces of the 20th century

Following Harmssen, Nathalie Baeschlin presented a paper based on several examples, such as paintings by Picabia and Mondrian and objects of raku ware, where either the fragility of the surface or the entire layer structure can be essential part of the artwork if intended by the artist. For example, she described how Picabia experimented with crackle lacquer and other methods to create intentional fissures through layering. However, her remarks about the surfaces of 20th century paintings and their intended fragility made clear that special properties of a surface can be intrinsic to the object, thus untouchable as an element of its meaning.

Prof. Dr. Helmut Leder: Wahrnehmung von Kunst aus der Sicht der empirischen Aesthetikforschung. Eine Frage des Stils?
Prof. Dr. Helmut Leder: Perception of art from an empirical aesthetic research point of view. Is it a question about style?

Unlike Baeschlin, Prof. Dr. Helmut Leder as well as Dietmar Wohl, focused on the unintentional changes in surfaces and discussed how viewers perceive them. Among other substantial aspects of perception, Leder presented a model of aesthetic processing, in which aesthetic experiences involve five stages: perception, explicit classification, implicit classification, cognitive mastering and evaluation. Leder presented results of perception studies regarding questions of an artist’s style: How long does it take to perceive style? Do we see style as the means of how the art object was created or produced?

Further reading: Leder et al.: A model of aesthetic appreciation and aesthetic judgments, in: British journal of Psychology Vol 95, Issue 4, 2004, pp. 489-508.

Dietmar Wohl: Aussagen in den Theorien der Konservierungs- und Restaurierungswissenschaft zur Oberflaeche von Gemaelden
Dietmar Wohl: Assertions about surfaces of paintings in the theories of conservation and restoration

Dietmar Wohl explained how an increasing “scientification” of conservation and restoration leads to various sub disciplines, each one with its own theories, e.g. practical conservation, conservation history and technical art history.

Prof. Dr. Martina Sitt: Noch nicht nah genug? Problem des Wissenstransfers zwischen Kunstgeschichte und Restaurierung
Prof. Dr. Martina Sitt: Still not close enough? Problems about exchange of knowledge between art history and conservation

Prof. Dr. Martina Sitt illustrated how contributions by conservators in museum and exhibition catalogs in recent years have enriched our knowledge about an artist’s oeuvre. However, incorporation of these contributions within the analysis of a work is often still insufficient. New information and knowledge gained through conservation treatment and examination are often presented as raw data, not communicated well enough and hence difficult to integrate accurately. This unfortunately results in a crux of two different specific terminologies used in two different fields attempting to discuss the same object. Based on paintings by Teniers, van Delen and Gruenewald, Dr. Sitt’s talk discussed possibilities and problems of exchange between the two fields in a very clear and enriching way.

Sybille Schmitt: Systematische Hilfsmittel zur Bestimmung und Bewertung von Oberflaeche und Struktur an barocken Gemaelden
Sybille Schmitt: Systematic tools and resources to determine and evaluate surface and structure on baroque paintings

As Sybille Schmitt could not present her talk in person, a colleague read her paper, which outlined the importance of an accurate terminology when it comes to describing layer structures, especially on a microscopic scale. By drawing an analogy to geomorphology and its terminology used to characterize variances in layer structure and surface, she introduced a helpful toolkit to conservators that both, describes and evaluates surface changes in paint layers. Despite huge differences in scale between microscopic cross sections of paint layers and the earth’s stratigraphy, the comparison of different phenomena created by physical, chemical or biological processes and forces was very persuasive to me. An example, which compared layer deformation caused by lead soap building to geomorphological deformation was fascinating and surprisingly accurate. It remains uncertain, if and when conservators will choose to adopt this toolkit or terminology.

Cornelius Palmbach: Aktive Thermografie – Visualisierung von Schaeden und verborgenen Strukturen an Malschichten und anderen Oberflaechen
Cornelius Palmbach: Active Thermography – visualization of damages and hidden structures in paint layers and other coated surfaces

Cornelius Palmbach gave an impressive overview of an Active Thermography project conducted at the Bern University of applied sciences BFH (Bern, Switzerland). Palmbach used Active Thermography as a non-destructive imaging technique to locate, visualize, and quantify both hidden structures and damages located beneath coated surfaces. Through subtle and periodical warming of an object’s surface, underlying areas that differ in their thermic properties give different responses that can be then detected with an IR-camera (Lock-In thermography). Palmbach presented convincing examples as he illustrated the identification of lifting paint layers, veneer, and plaster.

Theresa Braeunig, Joerg Maxin, Iris Winkelmeyer: Kruzifix! Rekonstruktion und Gestaltung eines spaetgotischen Werkes mittels 3D-Technik
Theresa Braeunig: Crucifix! Reconstruction and composition of a late Gothic work using 3D-technology

Theresa Braeunig discussed the examination of a nearly life-sized, late Gothic crucifix at the Lenbachhaus Munich, Germany. The project also involved the reconstruction and visualization of missing form elements and alterations in color design and the application of modern technology. 3D scanning and 3D printing helped visualizing the object’s appearance with different color designs from different time periods. Her work resulted in an exhibition dedicated to the research results and visualizations.

Further reading: Theresa Braeunig, Joerg Maxin, Iris Winkelmeyer: 3D-Rekonstruktion der Gestaltung eines spaetgotischen Kruzifixes aus Franz von Lenbachs Sammlung, in: Zeitschrift fuer Kunsttechnologie und Konservierung, Vol. 1, 2016, pp. 183-196.

Susanne Litty, Mira Dallige-Smith: Glaenzender Sch(r)ein – die Komplexitaet von Original und Ueberarbeitung am Beispiel eines nordindischen Miniaturaltars
Susanne Litty, Mira Dallige-Smith: Brilliant sh(r)ine -the complexity of original and alteration shown on a North Indian miniature-altar as an example

Susanne Litty described examination results of a miniature shrine in the collection of the Ethnologisches Museum, Berlin, Germany. The core theme to her talk was the difference between original and altered material, and related issues involving treatment-based decisions. The identification of a later application of a high gloss varnish, also known as “Soluble Nylon”, was one of the main challenges.

Thomas Kraemer: Veraenderungen der Bildoberflaeche bei der Duennung oder Abnahme von Firnissen. Ein Beispiel aus der Kasseler Gemaeldegalerie Alter Meister
Thomas Kraemer: Changes in a paintings surface through thinning or removing varnishes. An example from the Gemaeldegalerie Alte Meister in Kassel

Thomas Kraemer presented a treatment of the painting White Hen with Small Cake by Melchior de Hondecoeter, in the collection of the Gemaeldegalerie Alte Meister in Kassel, Germany. Kraemer’s talk focused on a highly solvent sensitive intermediate varnish layer that made the accurate removal and/or thinning of the top varnish layer with organic solvents impossible. Furthermore, the top varnish was discolored and had evolved a bark-like texture. Even though Kraemer had some success using a mastic resin-powder for mechanical varnish removal, he sought further improvement of the cleaning results.

Further reading: Thomas Kraemer: Veraenderungen der Bildoberflaeche bei der Duennung oder Abnahme von Firnissen. Ein Beispiel aus der Kasseler Gemaeldegalerie Alter Meister, in: VDR Beitraege zur Erhaltung von Kunst- und Kulturgut, Vol. 1, 2017, pp. 26-34.

Dr. Joerg Klaas, Dr. Heike Stege: “Wie graublau angestrichene Flaechen” – Die Veraenderungen ultramarinhaltiger Farbschichten in der Tafelmalerei
Dr. Joerg Klaas: “Like greyblue painted surfaces” – Alterations of ultramarine containing paint layers in easel paintings

Dr. Joerg Klaas’ presentation focused on “ultramarine sickness” in paintings. Klaas has worked on this degradation phenomenon for several years and published about it in his dissertation at the TU Munich in 2010/11. Within this project, his research covered the examination of paintings from 1475-1720. The examination of several paintings from this time period and mock-ups indicates that the “ultramarine sickness” is not a chemical discoloration, but rather a separation of pigment and binder that causes ultramarine containing layers to appear opaque and lighter or grey.

Further reading: Dissertation in German

Linda Haselbach, Dr. Albrecht Pohlmann: Ausbluehungen, Weissschleier, Protrusionen: Fettsaeureabspaltungen und Schwermetallseifen in den Oelstudien des deutsch-roemischen Malers Adolf Senff (1785-1863)
Linda Haselbach, Dr. Albrecht Pohlmann: Efflorescence, blanching, protrusions: Fatty acid dissociation and lead soap building in oil studies by Adolf Senff

Haselbach and Pohlmann showed a variety of botanical studies by Adolf Senff, most of them executed in oil on paper. 59 similar studies are in the collection Kunstmuseum Moritzburg in Halle (Saale), Germany. Several studies show varying amounts of degradation on the surface including efflorescence, blanching, and protrusions. Haselbach, who wrote her master’s thesis on this project, discussed possible causes for the types of degradation and suggested different treatment options, such as removal, inpainting, varnishing and preventive methods.

Further reading:

  • Thesis in German
  • Linda Haselbach, Dr. Albrecht Pohlmann: Ausbluehungen, Weissschleier, Protrusionen: Bildung von Schwermetallseifen in den Oelstudien des deutsch-roemischen Malers Adolf Senff (1785-1863), in: VDR Beitraege zur Erhaltung von Kunst- und Kulturgut, Vol. 1, 2017, pp. 7-18.

Andreas Krupa: Rekonstruktion als restauratorische Massnahme? – Glanz und Farbe einer Moebeloberflaeche mit Mahagoni-Optik
Andreas Krupa: Reconstruction as a conservation treatment? – Sheen and color of a furniture surface with mahogany-appearance

Andreas Krupa discussed the difficult conservation treatment of a Biedermeier escritoire (1840, Northern Germany). Cumulative light exposure resulted in a faded and matte appearance of the escritoire that contrasted with other examples of furniture from that time period. These examples were still in good condition and showed a rich, saturated, glossy and Mahogany-red surface. However, several attempts to re-saturate the surface of the escritoire either failed or lead to unsatisfying results. Poor results led Krupa to build a reconstruction following historical models and recipes, gaining unexpected experience and outcomes.

Publication in VDR Beitraege zur Erhaltung von Kunst- und Kulturgut pending.

Andreas Hoppmann: Firnistrennung an einem Triptychon von Bartholomaeus Bruyn der Aeltere – Ein wahrgenommener Gluecksfall
Andreas Hoppmann: Varnish separation on a triptych by Bartholomaeus Bruyn the Elder

Andreas Hoppmann presented one of those rear case studies where a selective varnish removal was conducted. On a Triptych by Bartolomaeus Bruyn (the Elder) a heavily discolored varnish was removed by using an alkaline buffer solution. Conservators were able to separate the top layer of oil-containing varnish from the resinous varnish underneath without damaging lower layers. The selective cleaning revealed a barely discolored resinous varnish layer that was in good condition.

Further reading: Andreas Hoppmann, Firnistrennung an einem Triptychon von Bartholomaeus Bruyn der Aeltere: Ein wahrgenommener Gluecksfall, in: VDR Beitraege zur Erhaltung von Kunst- und Kulturgut, Vol. 2, 2016, pp. 96-101.

Sabine Formanek: Eine Oberflaeche die mit “Kreide und Wasser und einem Stueck Filz solange geschliffen, bis es wie Glas ist” – Die Restaurierung einer Tischplatte mit Umdruckdekor
Sabine Formanek: A surface that is polished with “chalk and water and a piece of felt till it appears like glass” – restoration of a tabletop with a transfer decoration

Sabine Formanek showed her treatment of a table that was designed using an unusual transferware technique (1830, Museum fuer Angewandte Kunst, Vienna, Austria). Formanek described the transfer technique itself, damages and condition issues, and various treatment steps including consolidation, cleaning, filling, inpainting.

Further reading: Die Restaurierung eines Tisches mit Umdruckdekor aus dem Bestand des MAK Wien

Dr. Jonathan Bikker: What’s so funny about impasto? Arnold Houbraken’s lampooning of Rembrandt’s use of texture in perspective; Talk given in English

Dr. Jonathan Bikker from the Rijksmuseum illustrated Rembrandt’s various ways of manipulating paint to create surface texture, such as his early use of the butt-end of his brush or a palette knife, which he used later in his career. Bikker also discussed how Arnold Houbraken, Dutch painter and writer in the Golden Age, criticized Rembrandt for this “rough” manner of painting, which contrasted with the fine and the loose manner exemplified by Frans Hals.

Stefanie Lorenz: Die Restaurierung des Gemaeldes “Flusslandschaft” von Jacob Philipp Hackert – Eine Methode zur schichtenselektiven Firnisabnahme
Stefanie Lorenz: Conservation of River scenery by Jacob Philipp Hackert, 1805 – A method for a layer selective varnish removal

Stefanie Lorenz presented the treatment of a painting by Jacob Philipp Hackert in the collection of the Alte Nationalgalerie, Berlin, Germany. Lorenz’s self-described greatest challenge of the treatment was the cleaning of the painting, which had a discolored and patchy surface appearance. Close examination revealed five different varnish layers in dark areas whereas bright areas, such as the sky, showed less layers, but also some intermingled ones. Furthermore, there was evidence for residues of an original varnish, which complicated varnish removal using free solvents. Based on this initial situation, Lorenz tested several treatment options for cleaning and presented an interesting and successful mechanical varnish removal using a melamine resin sponge.

Further reading: Stefanie Lorenz: Die Restaurierung des Gemaeldes Flusslandschaft von Jacob Philipp Hackert. Eine Methode zur schichtenselektiven Firnisabnahme, in: VDR Beitraege zur Erhaltung von Kunst- und Kulturgut, Vol. 1, 2017, pp. 19-25.

Dr. Babett Forster, Romy Koenig-Weska: Das Bildnis als Palimpsest – Schicht um Schicht in Jenaer Gelehrtenbildnissen
Dr. Babett Forster, Romy Koenig-Weska: The portrait as a palimpsest – Layer by layer in scholar portraits from Jena

Dr. Babett Forster and Romy Koenig-Weska showed a variety of portraits from the University in Jena, Germany. From 1548 to the late 18th century, many scholars donated their portraits, often equipped with inscriptions, to the university. Research by Foster and Koenig-Weska has shown, that many of these inscriptions were altered through the centuries. However, some of these covered and overwritten inscriptions start reappearing or are getting uncovered by conservators. The presentation emphasized a complex discussion concerning the preservation and presentation of those portraits in consideration of factors, such as legibility and importance of historic alterations and documents, aesthetics of the portrait, and possible treatment solutions.

Dr. Felix Muhle: Empfindlicher Glanz: Die Fassungen auf Porcellain-Arth im “Wohnkabinet” Abt Anselms II. In Kloster Salem
Dr. Felix Muhle: Delicate sheen: Polished white bole in abbot Anselm II. “Wohncabinet” in cloister Salem, Southern Germany

Felix Muhle discussed the “Wohncabinet” of Abbot Anselm II, at cloister Salem, Germany, focusing on the plaster and furniture elements, which were added by Johann Georg Dirr between 1763-1766. Muhle stated that furniture, sculptures and plaster frames were mostly preserved with their original polished white bole that is imitating porcelain. The presentation covered technical as well as aesthetic aspects of sheen and material imitation and discussed possibilities and limits of cleaning and reduction of grime on water sensitive surfaces.

Eva Bader: Die Oberflaechenreinigung der Installation “Barraque D’Dull Odde” von Joseph Beuys im Kaiser Wilhelm Museum Krefeld
Eva Bader: Surface cleaning of the installation Barraque D’Dull Odde by Joseph Beuys at the Kaiser Wilhelm Museum in Krefeld, Germany

In 1977 Joseph Beuys himself installed Barraque D’Dull Odde at the Kaiser Wilhelm Museum in Krefeld, Germany. The work consists of 650 individual pieces embracing felt, food, dead bees, piles of loose chalk, a dust painting and many other curiosities. This installation represents one of the last “untouched” pieces by Beuys. The preservation of the original installation as well as the great variety of materials complicated the removal of dust that accumulated in almost 40 years. Eva Bader brillantly discussed not just Beuys work process, intentions and created effects, but also presented several conservation approaches for surface cleaning such a complex installation as well as suggested options regarding preventive conservation.

Franziska Bolz: Von Schuhcreme, Sand und Feuer – Kuenstliche Alterung als Bestandteil von Tingatinga-Gemaelden aus Tansania (Ostafrika)
Franzska Bolz: Shoe-paste, sand and fire – artificial aging as a part of Tingatinga-paintings from Tanzania (East Africa)

Franziska Bolz presented her extensive research on Tingatinga style paintings, named after the creator Edward Saidi Tingatinga, who painted in Tanzania at the end of the 1960s. Before he died in 1972, he taught his technique to friends and family members, many of who continued to make Tingatinga-paintings. The paintings are known for their high gloss lacquer paint, which is sometimes patinated with dust, shoe-paste and/or soot. Bolz discussed the intention, genesis, history and integrity of the paintings made by the artist himself compared to today’s practicing artists. She also addressed issues of authenticity and forgery.

Caroline von Courten: The Photographic Surface as Interface in mixed-media photo-works: Layers of materials, processes and meanings in Ger van Elk’s Dutch Grey, 1983/84

Unfortunately Caroline von Courten’s presentation on Ger van Elk’s painted silver-gelatin print Dutch Grey (1983-84) had to be canceled. However, in the abstract she discusses signs of the print’s early degradation. The painted surface of the print has changed due to the unintended migration of silver particles. Based on this case study, von Courten shows, “how the changing photographic surface becomes the visible juncture between what is usually separated as immaterial image and physical image carrier”. (Quote from Caroline von Courten’s abstract in conference booklet)

Caroline von Courten: The Photographic Surface as Interface in mixed-media photo-works – Layers of materials, processes and meanings in Ger van Elk’s Dutch Grey, 1983/84

Prof. Dr. Dietmar Ruebel: Handarbeit und Maschinenaesthektik – Oberflaechen als Arbeitsspeicher in der Kunst des 20. und 21. Jahrhunderts
Prof. Dr. Dietmar Ruebel: Handcraft and machine aesthetic – surfaces as internal memory of 20th and 21st century art

In Prof. Dr. Dietmar Ruebel’s absence, a colleague read his talk about handcraft and machine aesthetic – surface as internal memory of 20th and 21st century art, to the audience. In his paper he illustrated tool marks found on surfaces of mainly three-dimensional objects.

Further reading: Dietmar Ruebel, Handarbeit und Maschinenaesthektik. Oberflaechen als Arbeitsspeicher in der Kunst des 20. und 21. Jahrhunderts, in: VDR Beitraege zur Erhaltung von Kunst- und Kulturgut, Vol. 2, 2016, pp. 88-95.

Helena Ernst: “The Keep” von Mike Kelley im Museum Brandhorst
Helena Ernst: The Keep by Mike Kelley at the Museum Brandhorst, Munich, Germany

Helena Ernst presented her research and treatment on Mike Kelley’s The Keep, now in the collection of the Museum Brandhorst. Kelley’s use of various materials and especially their condition when he completed a piece requires new conservation approaches to preserve both the intention and appearance of the object. Based on the battered door of this installation, Ernst explained what condition issues she had to deal with prior to the treatment. The issue of flaking and lifting paint on the battered door was even more complicated as Kelley intended and expected visitors to come close to the door, even touch it and look through a fish eye to experience the installation. In her talk Ernst also showed how the appearance of the door was probably more important than the door itself and how even material losses are intentional. However, conservators and curators discussed how much loss is acceptable and how much loss is preventable, to support the artist’s intention. Ernst described various consolidation methods, such as insertion of pieces of coated Japanese paper that functioned as a hinge for flaking paint. This method enabled the consolidation of flaking paint without loosing the character of a battered and flaky surface.

Further reading: Helena Ernst: The Keep von Mike Kelley im Museum Brandhorst. Die Sicherung der Farbschicht: eine konservatorische Herausforderung, VDR Beitraege zur Erhaltung von Kunst- und Kulturgut, Vol. 1, 2017, pp. 35-44.

IIC 2018 Congress in Turin: Call for papers and posters (extended deadline)

IIC 2018 Congress
Preventive Conservation: The State of the Art, Turin, 10 – 14 September 2018
Simultaneous call for papers and posters

  • Closing date extended to June 5, 2017

Preventive conservation is a vital and ever-developing field at the centre of museum, site and heritage management, contributing to the sustainability of organisations as well as to the care of their collections. An IIC Congress last addressed issues in preventive conservation in Ottawa in 1994 and much has changed since then: new methods of investigation and analysis; a greater understanding of materials and how they may change or decay with time; developments in conservation practice. For conservators, conservation scientists and all those concerned with preventive conservation there are still as many questions as answers, still matters of concern to be discussed; many of you working in the field have something to say and exciting research to bring to us. To enable you to do this, we have extended the closing date for the call for papers and posters to 5 June 2017!

It will be 24 years since an IIC Congress last specifically addressed issues in preventive conservation, in Ottawa in 1994. The field has developed enormously since 1994: preventive conservation has a central position in museum, site, and heritage management. In addition to capturing developments and changes in scientific understanding and practice, this congress will focus on current issues that exercise our field and will look to the future. It will build on some recent IIC initiatives, including the 2008 Congress on Conservation and Access and the IIC/ICOM-CC environmental guidelines developed at the 2014 Hong Kong Congress.

The location for the 2018 Congress is Turin, a city with a varied cultural history, a strong international profile and innovative industrial centre and, at the same time, a comfortable, relaxed ambience. We are delighted that our partners in the 2018 Congress are the City of Turin, the Italian Regional Group of IIC (IGIIC), Turismo Torino e Provincia and the Centro per la Conservazione ed il Restauro “La Venaria Reale”, which, most appropriately, is housed in one of the Savoy palaces, La Venaria Reale.

Please don’t delay! We now invite paper and poster proposals that address the issues defining the state of the art in preventive conservation and latest practice. A full list of suggested topics and themes and full details for submission can be found at the main IIC Congress web-site page here:  www.iiconservation.org/congress

Please note that this is a simultaneous call for paper and poster proposals: there will be no later separate call for posters. IIC invites you to submit your proposal for a paper or poster in English in about 500 words (3500 characters) via the website here: www.iiconservation.org/congress. If you have an IIC account, please log in first; if not, please register on the front page of the site for an IIC account before submitting a proposal. Please do not include any illustrations with your proposal submission and please indicate if your proposal is for a paper or for a poster. The deadline for the receipt of proposals has been extended from May 8 to June 5, 2017.

We look forward to seeing you in Turin!