Pub Date : 2021-02-04DOI: 10.1080/01971360.2020.1823749
F. Pintér
ABSTRACT Careful sampling, sample preparation, and subsequent measurements are key steps in handling complex, salt-affected mineral materials. Chemical analyses of ionic components in aqueous solutions (ion chromatography – IC) are nearly always affected by the presence of components originating mostly from the substrate; this causes discrepancies when calculating the equivalent concentrations. This study uses IC and scanning electron microscopy (SEM-EDS) results from the investigation of two historical, salt-laden buildings from Austria to determine the influence of different mineral substrates on the inorganic ionic compositions. Results show that besides carbonate substrates, also seemingly pure salt crusts may include impurities distorting the results and thus the interpretation of data by using the ECOS Runsalt model. The combined use of IC and SEM-EDS provided a reliable solution to assess complex salt-affected building materials.
{"title":"The Combined Use of Ion Chromatography and Scanning Electron Microscopy to Assess Salt-affected Mineral Materials in Cultural Heritage","authors":"F. Pintér","doi":"10.1080/01971360.2020.1823749","DOIUrl":"https://doi.org/10.1080/01971360.2020.1823749","url":null,"abstract":"ABSTRACT Careful sampling, sample preparation, and subsequent measurements are key steps in handling complex, salt-affected mineral materials. Chemical analyses of ionic components in aqueous solutions (ion chromatography – IC) are nearly always affected by the presence of components originating mostly from the substrate; this causes discrepancies when calculating the equivalent concentrations. This study uses IC and scanning electron microscopy (SEM-EDS) results from the investigation of two historical, salt-laden buildings from Austria to determine the influence of different mineral substrates on the inorganic ionic compositions. Results show that besides carbonate substrates, also seemingly pure salt crusts may include impurities distorting the results and thus the interpretation of data by using the ECOS Runsalt model. The combined use of IC and SEM-EDS provided a reliable solution to assess complex salt-affected building materials.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"61 1","pages":"85 - 99"},"PeriodicalIF":0.5,"publicationDate":"2021-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2020.1823749","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44020092","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}
Pub Date : 2021-01-31DOI: 10.1080/01971360.2020.1796377
Sarah Barack, B. Radin, A. Lipps, J. Walthew
ABSTRACT Cooper Hewitt, Smithsonian Design Museum is a leader in the field of collecting and displaying contemporary design across a wide range of media, including born-digital and interactive works, 3D computer-aided designed and printed objects, as well as more traditional materials. As digital acquisitions have increased, an interdisciplinary group was formed in order to best guide this expanding area of collecting. This group worked collaboratively to steer the recent Digital Collections Materials Project, a critical review to develop enhanced protocols for preserving extant digital collections. This paper reports on the results of its collections survey and case studies, demonstrating how theories of contemporary art and time-based media conservation can be applied to the unique needs of a design institution. Concerns circling obsolescence and scarcity – referring both to expert knowledge and replacement materials – are examined with regard to mass-produced consumer electronics and newer born-digital works. In order to unpack these questions in a novel way, the term “riskscape,” borrowed from anthropologist Arjun Appadurai and co-opted by environmental and social disaster studies scholars, is introduced as a tool to better reflect the interconnected nature of commercially produced objects and the processes by which they become institutionalized.
{"title":"Planning for the Future Right Now: Riskscapes in Conserving Contemporary Design","authors":"Sarah Barack, B. Radin, A. Lipps, J. Walthew","doi":"10.1080/01971360.2020.1796377","DOIUrl":"https://doi.org/10.1080/01971360.2020.1796377","url":null,"abstract":"ABSTRACT Cooper Hewitt, Smithsonian Design Museum is a leader in the field of collecting and displaying contemporary design across a wide range of media, including born-digital and interactive works, 3D computer-aided designed and printed objects, as well as more traditional materials. As digital acquisitions have increased, an interdisciplinary group was formed in order to best guide this expanding area of collecting. This group worked collaboratively to steer the recent Digital Collections Materials Project, a critical review to develop enhanced protocols for preserving extant digital collections. This paper reports on the results of its collections survey and case studies, demonstrating how theories of contemporary art and time-based media conservation can be applied to the unique needs of a design institution. Concerns circling obsolescence and scarcity – referring both to expert knowledge and replacement materials – are examined with regard to mass-produced consumer electronics and newer born-digital works. In order to unpack these questions in a novel way, the term “riskscape,” borrowed from anthropologist Arjun Appadurai and co-opted by environmental and social disaster studies scholars, is introduced as a tool to better reflect the interconnected nature of commercially produced objects and the processes by which they become institutionalized.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"60 1","pages":"115 - 127"},"PeriodicalIF":0.5,"publicationDate":"2021-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2020.1796377","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41317495","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}
Pub Date : 2021-01-24DOI: 10.1080/01971360.2020.1790908
Matthew Skopek
ABSTRACT Traditional exhibition standards in museums may be challenged when an artist assumes an active role in determining the display parameters of a work or exhibition. Particularly with art created since the mid-twentieth century, artists have increasingly conceived their work to encompass aspects of its display environment and have deliberately blurred the boundaries between viewer and art. Finding ways to mediate the desires of the artist and the conditions that would best protect the physical object can be a challenge. Methods for this process may include light-reducing window films, creative exhibition design, and the use of exhibition copies. However, in recent years there has been an increasing reliance on waivers, signed by the owner, that acknowledge a departure from traditional display guidelines and absolves the museum of any consequences. This practice, while legal, raises ethical concerns as to the role and obligations of the conservator charged with the preservation of the work. Drawing from case studies at the Whitney Museum of American Art, this paper explores ways that conservators can continue to provide guidance as we operate in these non-traditional settings.
{"title":"Seeking Balance: Conservation Values and the Artist’s Voice","authors":"Matthew Skopek","doi":"10.1080/01971360.2020.1790908","DOIUrl":"https://doi.org/10.1080/01971360.2020.1790908","url":null,"abstract":"ABSTRACT Traditional exhibition standards in museums may be challenged when an artist assumes an active role in determining the display parameters of a work or exhibition. Particularly with art created since the mid-twentieth century, artists have increasingly conceived their work to encompass aspects of its display environment and have deliberately blurred the boundaries between viewer and art. Finding ways to mediate the desires of the artist and the conditions that would best protect the physical object can be a challenge. Methods for this process may include light-reducing window films, creative exhibition design, and the use of exhibition copies. However, in recent years there has been an increasing reliance on waivers, signed by the owner, that acknowledge a departure from traditional display guidelines and absolves the museum of any consequences. This practice, while legal, raises ethical concerns as to the role and obligations of the conservator charged with the preservation of the work. Drawing from case studies at the Whitney Museum of American Art, this paper explores ways that conservators can continue to provide guidance as we operate in these non-traditional settings.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"60 1","pages":"69 - 76"},"PeriodicalIF":0.5,"publicationDate":"2021-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2020.1790908","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42703160","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}
Pub Date : 2021-01-21DOI: 10.1080/01971360.2020.1812317
Michael K. Crawford, Lauren M. Fair, Katelyn Rovito, Tia Polidori, Rosie Grayburn
ABSTRACT Polymer films have been used extensively to coat heritage metal objects to provide protection against atmospheric oxidation and tarnish. Coating performance is directly proportional to coating thickness, but current methods used to measure coating thickness for quality control during treatment are qualitative at best. This paper demonstrates how fiber optic reflectance spectroscopy (FORS) was used to accurately determine coating thicknesses on a number of nitrocellulose-coated silver objects at Winterthur Museum. FORS appears to be significantly more accurate than other common methods used to measure film thickness, such as magnetic/eddy current techniques, but is limited to transparent or semi-transparent coatings. FORS is a simple, accurate method for measuring the thickness of protective coatings on a wide range of cultural heritage metal objects.
{"title":"Thickness Measurements of Clear Coatings on Silver Objects using Fiber Optic Reflectance Spectroscopy","authors":"Michael K. Crawford, Lauren M. Fair, Katelyn Rovito, Tia Polidori, Rosie Grayburn","doi":"10.1080/01971360.2020.1812317","DOIUrl":"https://doi.org/10.1080/01971360.2020.1812317","url":null,"abstract":"ABSTRACT Polymer films have been used extensively to coat heritage metal objects to provide protection against atmospheric oxidation and tarnish. Coating performance is directly proportional to coating thickness, but current methods used to measure coating thickness for quality control during treatment are qualitative at best. This paper demonstrates how fiber optic reflectance spectroscopy (FORS) was used to accurately determine coating thicknesses on a number of nitrocellulose-coated silver objects at Winterthur Museum. FORS appears to be significantly more accurate than other common methods used to measure film thickness, such as magnetic/eddy current techniques, but is limited to transparent or semi-transparent coatings. FORS is a simple, accurate method for measuring the thickness of protective coatings on a wide range of cultural heritage metal objects.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"61 1","pages":"71 - 84"},"PeriodicalIF":0.5,"publicationDate":"2021-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2020.1812317","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49511987","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}
Pub Date : 2021-01-11DOI: 10.1080/01971360.2020.1822702
Flavia Fiorillo, Laura Hendriks, I. Hajdas, M. Vandini, E. Huysecom
ABSTRACT In 2014, a painting attributed to the seventeenth century Dutch artist Jan Ruyscher appeared on the art market. Despite a prestigious career, Ruyscher, who possibly was a pupil of Rembrandt and Hercules Seghers, vanished from art history after his death and was only rediscovered in the 1930s. In this research paper, the combination of multiple analytical techniques ranging from radiocarbon dating of the support material to multispectral imaging and spectroscopic analyses (XRF, SEM-EDS, FTIR and Raman) of the pictorial layer offers a comprehensive analysis of the object. Radiocarbon analyses of the wooden panel indicated that the tree was probably cut down in the mid-eighteenth century, whereas spectroscopic analyses pinpointed the twentieth century as a timeframe for the application of the pictorial layers. The applied methodology sheds new light on the story of the object itself. The painting was created at the earliest in the 1930s possibly as a consequence of the rediscovery of Ruyscher, and the deliberate use of an aged panel supports an intent to deceive and hence classifies the object as a forgery. The painting under study was furthermore compared with artworks of renowned forgers in an attempt to identify the forger in disguise.
{"title":"The Rediscovery of Jan Ruyscher and Its Consequence","authors":"Flavia Fiorillo, Laura Hendriks, I. Hajdas, M. Vandini, E. Huysecom","doi":"10.1080/01971360.2020.1822702","DOIUrl":"https://doi.org/10.1080/01971360.2020.1822702","url":null,"abstract":"ABSTRACT In 2014, a painting attributed to the seventeenth century Dutch artist Jan Ruyscher appeared on the art market. Despite a prestigious career, Ruyscher, who possibly was a pupil of Rembrandt and Hercules Seghers, vanished from art history after his death and was only rediscovered in the 1930s. In this research paper, the combination of multiple analytical techniques ranging from radiocarbon dating of the support material to multispectral imaging and spectroscopic analyses (XRF, SEM-EDS, FTIR and Raman) of the pictorial layer offers a comprehensive analysis of the object. Radiocarbon analyses of the wooden panel indicated that the tree was probably cut down in the mid-eighteenth century, whereas spectroscopic analyses pinpointed the twentieth century as a timeframe for the application of the pictorial layers. The applied methodology sheds new light on the story of the object itself. The painting was created at the earliest in the 1930s possibly as a consequence of the rediscovery of Ruyscher, and the deliberate use of an aged panel supports an intent to deceive and hence classifies the object as a forgery. The painting under study was furthermore compared with artworks of renowned forgers in an attempt to identify the forger in disguise.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"61 1","pages":"55 - 63"},"PeriodicalIF":0.5,"publicationDate":"2021-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2020.1822702","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47952227","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}
Pub Date : 2021-01-11DOI: 10.1080/01971360.2020.1824415
A. Peranteau, L. Shepherd
ABSTRACT The study of material culture is increasingly including techniques based on DNA sequencing. This article describes the use of mitochondrial DNA (mtDNA) sequencing to identify mammal skins in a Malawian garment (chibbiya). The object had been described in historic museum records as being made with “tails of the sacred black and white monkey”. However, it contains a number of different colored and patterned pelts, suggesting that it was constructed from a variety of animals. Three different sampling techniques, including a recently developed noninvasive sampling method, were used to obtain DNA from twelve locations on the object. Human DNA contamination presented a challenge to species identification, but this was overcome using a method to block human DNA. The sequence data obtained were matched against the online reference database GenBank and indicated that seven mammal species were used to construct the garment but only two of these were primates. For the baboon sequence, published studies enabled the likely geographic region of origin to be established. Our mtDNA analysis overcame limitations of hair fiber analysis, namely the lack of known reference samples for comparison, and resulted in an enhanced understanding of methods and practices used in Ngoni culture.
{"title":"Identification of Mammal Skins Present in an Ngoni Garment from Malawi Using Mitochondrial DNA Analysis","authors":"A. Peranteau, L. Shepherd","doi":"10.1080/01971360.2020.1824415","DOIUrl":"https://doi.org/10.1080/01971360.2020.1824415","url":null,"abstract":"ABSTRACT The study of material culture is increasingly including techniques based on DNA sequencing. This article describes the use of mitochondrial DNA (mtDNA) sequencing to identify mammal skins in a Malawian garment (chibbiya). The object had been described in historic museum records as being made with “tails of the sacred black and white monkey”. However, it contains a number of different colored and patterned pelts, suggesting that it was constructed from a variety of animals. Three different sampling techniques, including a recently developed noninvasive sampling method, were used to obtain DNA from twelve locations on the object. Human DNA contamination presented a challenge to species identification, but this was overcome using a method to block human DNA. The sequence data obtained were matched against the online reference database GenBank and indicated that seven mammal species were used to construct the garment but only two of these were primates. For the baboon sequence, published studies enabled the likely geographic region of origin to be established. Our mtDNA analysis overcame limitations of hair fiber analysis, namely the lack of known reference samples for comparison, and resulted in an enhanced understanding of methods and practices used in Ngoni culture.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"61 1","pages":"100 - 111"},"PeriodicalIF":0.5,"publicationDate":"2021-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2020.1824415","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48271413","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}
Pub Date : 2021-01-02DOI: 10.1080/01971360.2021.1882728
J. M. del Hoyo-Meléndez
{"title":"Editorial","authors":"J. M. del Hoyo-Meléndez","doi":"10.1080/01971360.2021.1882728","DOIUrl":"https://doi.org/10.1080/01971360.2021.1882728","url":null,"abstract":"","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"60 1","pages":"1 - 1"},"PeriodicalIF":0.5,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2021.1882728","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45130652","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}
Pub Date : 2020-12-23DOI: 10.1080/01971360.2020.1795982
K. S. Kelly, Jennifer K. Herrmann, Alisha Chipman, A. Davis, Y. Khan, Steven Loew, Katharine Morrison Danzis, Tamara Ohanyan, Lauren Varga, A. Witty, Michele Youket
ABSTRACT For decades, precoated heat- and solvent-set tissues have been the preferred method for mending certain types of library and archival materials due to their translucency and ability to be used without introducing moisture. In recent years, the adhesives long used to make these tissues became unavailable. The National Archives and Records Administration and the Library of Congress report joint testing of a variety of precoated tissues made with Lascaux 498 HV, Lascaux 303 HV, Avanse MV-100, Plextol B500, Aquazol 200, and Aquazol 500, adding to and building upon their research presented in 2015. Prepared tissues were applied to substrates using both heat- and solvent-set methods, then they underwent a variety of analytical testing. Testing assessed color change and reversibility after artificial aging, blocking of mends and fills after natural aging under pressure, and the adhesives’ interactions with silver-based photographic materials. The method of application – heat or solvent – did not affect aging or testing results. The Avanse/Plextol tissues failed the color change tests. The Aquazol 200 and 500 dilutions and several Lascaux 498 HV and Lascaux 303 HV dilutions passed testing. Six successfully tested mixtures are presented, with case studies of use and recommendations for ongoing quality assurance.
{"title":"Heat- and Solvent-Set Repair Tissues","authors":"K. S. Kelly, Jennifer K. Herrmann, Alisha Chipman, A. Davis, Y. Khan, Steven Loew, Katharine Morrison Danzis, Tamara Ohanyan, Lauren Varga, A. Witty, Michele Youket","doi":"10.1080/01971360.2020.1795982","DOIUrl":"https://doi.org/10.1080/01971360.2020.1795982","url":null,"abstract":"ABSTRACT For decades, precoated heat- and solvent-set tissues have been the preferred method for mending certain types of library and archival materials due to their translucency and ability to be used without introducing moisture. In recent years, the adhesives long used to make these tissues became unavailable. The National Archives and Records Administration and the Library of Congress report joint testing of a variety of precoated tissues made with Lascaux 498 HV, Lascaux 303 HV, Avanse MV-100, Plextol B500, Aquazol 200, and Aquazol 500, adding to and building upon their research presented in 2015. Prepared tissues were applied to substrates using both heat- and solvent-set methods, then they underwent a variety of analytical testing. Testing assessed color change and reversibility after artificial aging, blocking of mends and fills after natural aging under pressure, and the adhesives’ interactions with silver-based photographic materials. The method of application – heat or solvent – did not affect aging or testing results. The Avanse/Plextol tissues failed the color change tests. The Aquazol 200 and 500 dilutions and several Lascaux 498 HV and Lascaux 303 HV dilutions passed testing. Six successfully tested mixtures are presented, with case studies of use and recommendations for ongoing quality assurance.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"61 1","pages":"24 - 54"},"PeriodicalIF":0.5,"publicationDate":"2020-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2020.1795982","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45224081","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}
Pub Date : 2020-12-03DOI: 10.1080/01971360.2020.1790093
Pamela Johnson
ABSTRACT One might metaphorically describe the role of conservators as keeping art “alive”; they extend its life for future generations. This article presents two case studies in which the art conservator's role and skill set adapted in order to keep an artwork alive in a literal sense, where the success of the installation hinged on keeping a living component fed, watered, and productive. In this paper, the author discusses the preparation, innovation, and cross-disciplinary practices necessary when conservators are tasked with caring for living creatures in contemporary artworks. When the artwork involves live animals, conservators are forced to venture outside their own profession into different fields entirely in order to meet the needs of these creatures while also maintaining the integrity of the artwork. Palimpsest (1989), by Ann Hamilton in collaboration with Kathryn Clark, was a room-size installation comprised of multiple components, including 25 live snails. Roni Horn's Ant Farm (1974/2007) included about 5,000 live ants. In these two instances at two different institutions, the author was charged in a conservation capacity with meeting the needs of live animals while simultaneously upholding the conceptual and material requirements of the artwork.
{"title":"Art that Lives and Breathes: Conserving Creatures in Contemporary Art","authors":"Pamela Johnson","doi":"10.1080/01971360.2020.1790093","DOIUrl":"https://doi.org/10.1080/01971360.2020.1790093","url":null,"abstract":"ABSTRACT One might metaphorically describe the role of conservators as keeping art “alive”; they extend its life for future generations. This article presents two case studies in which the art conservator's role and skill set adapted in order to keep an artwork alive in a literal sense, where the success of the installation hinged on keeping a living component fed, watered, and productive. In this paper, the author discusses the preparation, innovation, and cross-disciplinary practices necessary when conservators are tasked with caring for living creatures in contemporary artworks. When the artwork involves live animals, conservators are forced to venture outside their own profession into different fields entirely in order to meet the needs of these creatures while also maintaining the integrity of the artwork. Palimpsest (1989), by Ann Hamilton in collaboration with Kathryn Clark, was a room-size installation comprised of multiple components, including 25 live snails. Roni Horn's Ant Farm (1974/2007) included about 5,000 live ants. In these two instances at two different institutions, the author was charged in a conservation capacity with meeting the needs of live animals while simultaneously upholding the conceptual and material requirements of the artwork.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"60 1","pages":"175 - 185"},"PeriodicalIF":0.5,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2020.1790093","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46665205","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}
Pub Date : 2020-11-21DOI: 10.1080/01971360.2020.1759997
S. Stuckey
ABSTRACT Many approaches have developed over time for the conservation of architectural, wood wall panels. Some proved effective at handling severe issues such as warpage, while others more cosmetic. At George Washington's Mount Vernon home, the wall panels of the Front Parlor have been the subject of many iterations of treatment, and exploration of previous interventions provides examples for conservators to analyse treatment efficacy, the causes of panel issues and the rationale behind implementing treatments. The results from the most recent panel intervention at Mount Vernon illustrates that wall panels can be treated with humidification and battens to be re-flattened to a certain degree. This article will explore previous wall panel treatments at Mount Vernon through visual assessment and archival research, and evaluate all past treatments to reflect a comprehension of the dynamic between wood, structure, and moisture. Also included are the procedures used to implement the latest round of treatment, which employed a protocol of controlled humidification and pressure developed by conservator F. Carey Howlett, and installation techniques using modified battens on the reverse of panels for in situ leveling and filling. Lastly, data is provided regarding the reactions of panels to humidification treatment.
{"title":"Wall Panel Interventions at Mount Vernon","authors":"S. Stuckey","doi":"10.1080/01971360.2020.1759997","DOIUrl":"https://doi.org/10.1080/01971360.2020.1759997","url":null,"abstract":"ABSTRACT Many approaches have developed over time for the conservation of architectural, wood wall panels. Some proved effective at handling severe issues such as warpage, while others more cosmetic. At George Washington's Mount Vernon home, the wall panels of the Front Parlor have been the subject of many iterations of treatment, and exploration of previous interventions provides examples for conservators to analyse treatment efficacy, the causes of panel issues and the rationale behind implementing treatments. The results from the most recent panel intervention at Mount Vernon illustrates that wall panels can be treated with humidification and battens to be re-flattened to a certain degree. This article will explore previous wall panel treatments at Mount Vernon through visual assessment and archival research, and evaluate all past treatments to reflect a comprehension of the dynamic between wood, structure, and moisture. Also included are the procedures used to implement the latest round of treatment, which employed a protocol of controlled humidification and pressure developed by conservator F. Carey Howlett, and installation techniques using modified battens on the reverse of panels for in situ leveling and filling. Lastly, data is provided regarding the reactions of panels to humidification treatment.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"61 1","pages":"14 - 23"},"PeriodicalIF":0.5,"publicationDate":"2020-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2020.1759997","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44000994","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}
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