Conservation

Question 1

How much effort do public galleries go to for particular works?

Answer 1

• Considerable effort bc gallery = custodian of the public
• Borrowed works must be properly conserved
• Large galleries follow International Conservation guidelines and employ teams to ensure standards are met.

Question 2

How much effort do commercial and ARI galleries go to for particular works?

Answer 2

• Don’t place the same degree of emphasis on conservation bc works only held for a short amount of time
• Can’t afford expense of maintaining high conservation standards (but still apply some conservation methods)

Question 3

How does the curator ensure conservation and preservation of an artwork.

Answer 3

• check regularly for dust, movement, and damage. Regular checking of works in storage also occurs.
• works travelling
  between galleries are given a check-list called a “condition report’ to check for any damages

Question 4

How does light damage artworks?

Answer 4

• Causes colours to fade , paper to discolour and become embrittled.
• Damage caused by light is both cumulative irreversible
• Although some materials (eg. ceramics and metals) are less vulnerable to damage caused by light, all materials are at risk.

Question 5

Recommended LUX levels:

Answer 5

• Highly sensitive materials (textiles and paper) = 150-250 lux
• Less sensitive materials (oil paintings and wooden objects) = 150-250 lux
• Ceramics stone and glass have very low sensitivity = up to 300 lux

Question 6

Minimisation of light damage is achieved by:

Answer 6

• eliminating direct sunlight
• minimising UV light, which is not required for the viewing of works of art
• Reducing exposure to light by rotating objects between display and storage
• Exhibiting light sensitive objects in areas with reduced lighting levels.

Question 7

Recommended temperature and Relative humidity levels

Answer 7

20 degrees Celsius +/- 2 degrees

RH 50% +/- 5%

Question 8

Changes in temperature and RH can cause

Answer 8

*Expansion and contraction of particular materials, resulting in increases in cleavage (the separation of layered structures) ,cracking and tears

*Mould, bacteria and fungi growth if RH is high and insect attack

*Chemical reactions that result in chemical break down of materials (eg discoloration and embrittlement of paper)

*Cracking and flaking of the emulsion layer
*High temperatures- accelerate the chemical deterioration

*High humidity– gelatine layers swell and become sticky, mould develops

*Low humidity– embrittlement of the emulsion layers

Question 9

How to prevent mold growth on artworks.

Answer 9

• live on almost any material and offer moisture and organic nutrients (oil paint, wood, paper, etc.)
• the best way to control mould is to control environmental conditions in display and storage areas and keep them clean and well-ventilated.

Question 10

What happens if mold comes into contact with an artwork?

Answer 10

Mold causes the breakdown of physical structures eg. paper can become spongy and liable to disintegration.

Mold also causes surface staining = irrevesible.

Question 11

Most common forms of atmospheric pollutants

Answer 11

• CO2
• Nitrous Oxide
• Ozone
• Particulate matter (dust and soot)

Question 12

Types of damage caused by dust/atmospheric pollutants

Answer 12

• corrosion (metals)
• acid damage (stone)
• staining and soiling (paper)
• chemical reactions (tarnishing of silver/blackening of lead-based pigments)
• Physical breakdown (textiles)

Question 13

Insects

Answer 13

• Feed on objects made of organic materials (wool/cotton)
• Insect droppings are not only unsightly but can stain, eating into the surface of an artwork.

Question 14

Storage Areas

Answer 14

• Viewing conditions don’t need to be considered so works can be kept in the dark as much as possible.
• Ease of access is another aspect considered in the design of storage areas, w/ a view to protect works from physical damage.
• Regularly monitored/works on paper usually rotated 1:3 = allowing for rest.