Journal of the American Institute for Conservation最新文献

{"title":"A Comparative Surface Cleaning Study of Op Structure, an Op Art PMMA Sculpture by Michael Dillon","authors":"Lora V. Angelova, Gates Sofer, A. Bartoletti, B. Ormsby","doi":"10.1080/01971360.2022.2031459","DOIUrl":"https://doi.org/10.1080/01971360.2022.2031459","url":null,"abstract":"ABSTRACT The cleaning of a poly(methyl methacrylate) (PMMA) sculpture, Op Structure by Michael Dillon (1967, Tate Collection T03717), was undertaken as a case study during the NANORESTART project. Novel cleaning techniques, including microemulsions and gels, were evaluated and compared against more commonly used treatment methods on mock-ups created to broadly represent the conservation challenges presented by this artwork. The experimental design is presented, including the creation of mock-ups of a contemporary plastic work that required surface soil reduction and removal of two non-original labels with different pressure-sensitive adhesives. More than thirty cleaning systems were applied to soiled mock-ups and evaluated using a combination of imaging, instrumental analysis, and empirical observations. A summary of results, which reflect the decision-making process that led to the final treatment strategy, is presented. After extensive trials, surface cleaning was carried out using an aqueous surfactant-chelator solution applied with microfiber cloths; adhesive labels were removed with dilute water/propan-2-ol cotton poultices.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"62 1","pages":"58 - 77"},"PeriodicalIF":0.5,"publicationDate":"2022-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47050507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Treatment of a Large Painted Outdoor Sculpture: Kiosque l’évidé (1970) 1984, by Jean Dubuffet","authors":"Eleonora E. Nagy, Alfred Lippincott, Donald Lippincott, Jamie Chasse, Roseann Prosser","doi":"10.1080/01971360.2022.2031456","DOIUrl":"https://doi.org/10.1080/01971360.2022.2031456","url":null,"abstract":"ABSTRACT The conservation of Kiosque l’évidé, a painted outdoor fiberglass-reinforced phenoxy resin sculpture by Jean Dubuffet (1901–1985), involved a number of unusual challenges that necessitated the development of novel treatment protocols. Remedying the sculpture's severely compromised physical condition demanded the complete removal of its painted surface and innovative planning for the precise replication of its paint scheme and pattern. The sculpture's large size and layered material composition presented challenges; moreover, the technical data received from the artist's foundation posed ethical questions about the definition of original materials, color, and appearance, forcing us to search for alternate sources of reliable information, which included analysis of the sculpture's materials. This article describes the broad range of issues we faced during a major conservation treatment, the irregular path that such a complex effort invariably took, and the perseverance and decision-making processes required to achieve a successful outcome. We detail three main solutions: a custom dolly system to safely and easily transport and handle the oversized sculpture; a method to photograph and accurately project the original paint scheme so that we could replicate the paint pattern; and challenges in sourcing paint products that provided an unusual and narrow range of optical and working properties.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"62 1","pages":"28 - 57"},"PeriodicalIF":0.5,"publicationDate":"2022-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46668900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Response to Thea Burns Review of The Art of Paper: From the Holy Land to the Americas","authors":"Caroline O. Fowler","doi":"10.1080/01971360.2021.1988527","DOIUrl":"https://doi.org/10.1080/01971360.2021.1988527","url":null,"abstract":"It was an honor to have my book, The Art of Paper: From the Holy Land to the Americas, reviewed in the Journal of the American Institute for Conservation (JAIC) as this book clearly stated that it was a cultural and not a technical history of paper, and so an unexpected review in this specialist publication offers an important opportunity for conversation between two disciplines. I appreciate Burns’s review offering this chance, particularly given her expertise as a paper conservator. I am grateful for her clarification around certain technical definitions, and I have no doubt that some of the language in my book would sound different to a conservator than an art historian. I am certain that from her perspective as a conservator, my terminology fell short of her expertise, and I appreciate her dedicated attention to language. She also wonderfully nuanced some of my readings with her vast knowledge, and it is unfortunate that she felt a need to characterize this as my failings as a scholar rather than a productive dialogue. I am primarily concerned, however, as Burns not only omitted large parts of my argument but also misrepresented the thesis and scope of the book. It was easy to do this, as she did not summarize the arguments of each chapter, as is standard in a book review. Instead, she drew upon certain threads while omitting others; most importantly, she ignored that this is a book about the mythologies surrounding European art history. I focused on the ways in which white paper, as a ground for drawing, thinking, writing, mapmaking, and bureaucracy, has played a role in creating certain mythologies around European exceptionalism from the fifteenth century to today. In many instances, Burns and I disagree on the evidence and arguments, such as the role of erasure in late-medieval drawing. It is productive to have both viewpoints circulating, and I appreciate her engaged consideration. Many of her arguments, however, are willful mis-readings. There are many points of clarification that Burns makes, such as rag paper was not always filthy when delivered to the watermill. Obviously, this is true, but the cultural, poetic, and verse landscape around paper in early-modern Europe built up a mythology about the transfiguration of filthy rags transformed into a white surface, a mythology that was part of a Christo-centric culture, which is elucidated in the book. She also quotes out of context; for example, suggesting that I argued that blue paper was a new technology when Dürer adopted it. As my examples of earlier blue paper suggest, I do not think it was a new technology, but it clearly held a specific novel appeal for Dürer who exclusively used it for a set of drawings made while he was in Venice. In some instances, the vocabulary of a non-conservator prevents Burns from engaging with my argument, such as when I refer to a piece of paper as pigmented, meaning that it was exactly as she described, dyed fibers intimately interwoven into the struct","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"61 1","pages":"143 - 143"},"PeriodicalIF":0.5,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41964400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Editorial","authors":"J. M. del Hoyo-Meléndez","doi":"10.1080/01971360.2022.2058298","DOIUrl":"https://doi.org/10.1080/01971360.2022.2058298","url":null,"abstract":"Welcome to the second issue of the year 2022, which marks the 50th anniversary of the incorporation of the American Institute for Conservation. This year will appear in history books as the start of the largest war in Europe since World War II. We are also still living in the middle of the COVID19 pandemic. In addition, our activities keep negatively impacting the Earth’s climate at an alarming and unprecedented rate as reported in numerous research publications. As cultural heritage professionals we are committed to dealing with these problems by implementing sustainable practices in the conservation field to help fight climate change, devising ways of lowering the risk of virus spread, and developing preservation strategies to protect cultural heritage from the disasters of war. In this difficult time, I would like to share with you a bit of joy, which I hope will be provided by the articles featured in this issue. The papers in this issue present work that has important practical implications for the conservation field. They also emphasize the significance of international collaboration, which is key to our field, featuring work by researchers from Austria, Italy, New Zealand, UK, and US. The first paper in this issue, by Pintér, discusses research carried out to evaluate salt-affected mineral materials found in two historical buildings in Austria. The author conducted ion chromatographic analysis in conjunction with scanning electron microscopy to determine the water-soluble ionic component and spatial distribution of salts present in samples taken from the buildings. The paper presents the advantages and disadvantages of the proposed methodology, emphasizing the influence of sample preparation, type, and solubility of salts on the reliability of the data. It is widely known that salt crystallization processes can create severe damage on historical buildings. To overcome this problem, the characterization approach presented in the paper could be of special interest to AIC’s Architecture Specialty Group and Archeological Heritage Network. The second paper, by Chang and Lu, presents a comprehensive case study conducted on a red carved lacquer dish from the Jiajing period of the Ming dynasty. The paper highlights the need for having a broad discussion on materials and techniques together with stylistic studies to achieve a better understanding of cultural heritage objects. The results were also evaluated in the context of other three similar objects. Although the use of reference objects is recommended for these types of case studies, the authors recognize that the low number of objects used for comparison was not enough to definitively determine whether a carved lacquerware belongs to the Jiajing period. Nevertheless, a multi-technique approach such as the one presented in the paper can provide a foundation for future studies on similar objects. The complexity of metal objects and their degradation mechanisms continue to raise interesting quest","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"61 1","pages":"69 - 70"},"PeriodicalIF":0.5,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43725078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Shedding Light on Daylight Fluorescent Artists’ Pigments, Part 2: Spectral Properties and Light Stability","authors":"S. J. S. Sobeck, G. Smith","doi":"10.1080/01971360.2022.2031460","DOIUrl":"https://doi.org/10.1080/01971360.2022.2031460","url":null,"abstract":"ABSTRACT Daylight fluorescent pigments are complex artists’ colorants made of multiple admixed dyes and additives infused in a polymer resin. Their unique photochemistry creates interesting optical effects that make them appealing for a range of applications. The wavelength dependence of the dyes’ emissive properties has also led to their use in works meant to be displayed under nontraditional high energy light sources, such as blacklights. The intended display methods and the photochemistry of the constituent dyes can lead to chemical instability and also pose unique challenges for conservation and exhibition. In Part 1 of this research, we reported on the chemical constituents of colorants from two major manufacturers. In this paper, we provide a comprehensive report of the spectral properties and lightfastness of paints prepared with the pigments. The optical properties and chemical stability of these colorants are correlated with the composition. Variation in composition can lead to unique markers that could be useful for conservation treatment and exhibition considerations. Changes in the dyes used in the pigment formulation over time are considered in the comparison of two objects: a Stephen Sprouse silvered leather motorcycle jacket featuring fluorescent art by Stefano Castronovo and selections from the Day-Glo Designer’s Guide from 1969.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"62 1","pages":"222 - 238"},"PeriodicalIF":0.5,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44556789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Observations from the Analysis of the Gelatin Silver Emulsion Layer of Glass Photographic Inter-Positive Plates from Eadweard Muybridge’s Animal Locomotion Series at the National Museum of American History","authors":"M. Hiebert, T. Lam, Sarah Oakman, Shannon A. Brogdon-Grantham","doi":"10.1080/01971360.2021.1983710","DOIUrl":"https://doi.org/10.1080/01971360.2021.1983710","url":null,"abstract":"ABSTRACT The Photographic History Collection at the Smithsonian’s National Museum of American History houses the largest collection of glass photographic plates from Eadweard Muybridge’s Animal Locomotion series. These images are the immediate predecessor to moving pictures and serve as an invaluable research tool for those seeking to better understand Muybridge’s process and place in the history of photography. As part of a survey of the condition of this collection, analysis of the materials and deterioration products found on these plates was conducted. This paper focuses on observations made during the analysis of the image-bearing gelatin emulsion layer of these objects, as the deterioration and loss of this layer is the most compromising to the identity and significance of the objects themselves. The analysis was performed on image plates and fragments that have become disassociated from their original composite panels. The results of the analyses included: the identification of the gelatin and image forming materials, new information about the photographic processes used in the production of these plates, namely the use of mercury intensification, and significant insights into the various mechanisms of deterioration found on these objects including silver mirroring, water damage, and gelatin cracking, which threaten the long-term stability of this collection.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"61 1","pages":"237 - 253"},"PeriodicalIF":0.5,"publicationDate":"2022-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47759856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Arsenic and Old Bookcloth: Identification and Safer Use of Emerald Green Victorian-Era Cloth Case Bindings","authors":"M. Tedone, Rosie Grayburn","doi":"10.1080/01971360.2022.2031457","DOIUrl":"https://doi.org/10.1080/01971360.2022.2031457","url":null,"abstract":"ABSTRACT Analysis of nineteenth-century, cloth-case publishers’ bindings at Winterthur Library revealed starch-coated bookcloth colored with the toxic pigment “emerald green” (copper acetoarsenite). While this pigment was widely used in Victorian home goods and apparel, its use specifically in bookcloth has not been formally explored. A survey of bookcloth pigments was conducted to identify which toxic elements may be present in bookcloth and to determine how many bindings were colored with emerald green. English-language books at Winterthur published between 1837 and 1900 were analyzed with x-ray fluorescence spectroscopy. When arsenic and copper were found together, Raman spectroscopy was used to confirm emerald green. The dataset was further expanded using The Library Company of Philadelphia’s significant holdings of cloth-case publishers’ bindings. Copper and arsenic were detected in 38 rare and circulating books in total. Based on this data, trends in emerald green bookcloth use include: consistently vivid green hue; stamped decoration; English and American imprints from 1840s to 1860s. Quantitative analysis revealed significant levels of arsenic in friable bookcloth colorant. Emerald green books in the Winterthur collection were rehoused in zip-top polyethylene bags with hazard labels and circulating books were moved into the access-controlled rare book collection.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"62 1","pages":"1 - 12"},"PeriodicalIF":0.5,"publicationDate":"2022-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41594754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Neodymium Magnets as a Minimal Intervention Alternative to Traditional Treatments for Fixing Paint on Contemporary Paintings","authors":"Emanuel Sterp Moga, Alicia Sánchez Ortiz","doi":"10.1080/01971360.2021.1980696","DOIUrl":"https://doi.org/10.1080/01971360.2021.1980696","url":null,"abstract":"ABSTRACT Guided by the criterion of minimum intervention, this article proposes an alternative method to traditional procedures for the fixation of color and preparation layers in contemporary two-dimensional paintings based on the use of neodymium magnets. The first part describes the materials, experiments, and tests carried out on models with different types of deterioration to test the behavior of the magnets. The obtained data demonstrates specific solutions for the restoration of three contemporary two-dimensional works. The proposed method is simple to use, can be combined with other traditional methods, allows to reduce the manipulation of the object during the treatment, and proves to be minimally invasive and respectful of the original.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"61 1","pages":"275 - 283"},"PeriodicalIF":0.5,"publicationDate":"2022-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43564202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Review of 50 Years of Teaching Conservation Science at SUNY Buffalo State","authors":"A. Shugar, R. Ploeger, Meredeth Lavelle","doi":"10.1080/01971360.2021.1928842","DOIUrl":"https://doi.org/10.1080/01971360.2021.1928842","url":null,"abstract":"ABSTRACT Art conservation science education is intertwined with the education of conservators. An apropos quote from Dr. Christopher Tahk, former scientist and director at the Cooperstown and later Buffalo State art conservation graduate training program, clearly describes this relationship and sums up the success of the science curriculum in the art conservation training programs “students are going out now, becoming conservators and understanding science, and so they can talk with scientists and there is a more of a rapport between the two.” Conservation science education has evolved to better achieve this aim, and this article highlights, discusses, and reflects on the challenges presented to conservation science educators, while examining possibilities and hopes for the future.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"61 1","pages":"202 - 212"},"PeriodicalIF":0.5,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44642568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Conservation of Severely Deteriorated, Dry Painted Wood: A Case Study From Abydos, Egypt","authors":"S. Davis, H. Sadek, C. Chemello, G. Smith, P. Hatchfield, R. Blanchette, Ahmed M. Abdel-Azeem, J. Richards","doi":"10.1080/01971360.2021.1951551","DOIUrl":"https://doi.org/10.1080/01971360.2021.1951551","url":null,"abstract":"ABSTRACT Severely deteriorated wood statues dating to the later third millennium BCE and excavated at Abydos, Egypt, were investigated to learn about their original manufacture, subsequent deterioration, and to develop a conservation treatment plan. Because Egypt restricts the sampling and export of archaeological materials, scientists and conservators conducted non-destructive analysis and engaged in empirical testing of potential treatments at the Abydos field site. The wood substrate was examined microscopically to determine wood species and to understand damage by insects and fungi, and fungi were cultured for identification. Decorative surfaces were studied to identify pigments and binding media; elemental compositions were analyzed with portable XRF, mid-infrared spectra were collected using a small spectrometer, and several wet chemical tests were performed. Notable results include the likely use of orpiment on artifacts dating to the Old Kingdom and the identification of a wide variety of wood types within a discrete archaeological context and, probably, in single objects. Conservation treatment testing focused on choosing consolidants and fill materials for the highly degraded wood substrate and friable paint layer. Two case studies present the successful treatment of the two largest and most elaborately decorated statues from the time of excavation to readiness for display.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"61 1","pages":"254 - 274"},"PeriodicalIF":0.5,"publicationDate":"2021-10-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42220215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}