Pub Date : 2017-01-02DOI: 10.1080/10344233.2017.1355587
N. Tse
Papers in volume . of the AICCM Bulletin explore the evaluation processes for treatment case studies and their outcomes. Contributions recognise that conservation practice is an assertion of values and that the treatment of objects is a physical representation of the way conservators interact with material culture, thereby highlighting their decision-making and proposing new treatment strategies across the different materials and areas of gilded frames, lead objects, a silk cheongsam, Japanese tissue and collection care. This is not only for the purposes of sharing and learning new practical methods for treatment cases studies, but for the evidence and values that inform our work to be more broadly scrutinised and thereby advanced. Conservation as a practice-based profession can reach a level of transparency and greater certainty via this process of reflexivity. Reflexivity as a method of inquiry recognises the value of patterning our observations, in this case the response of cultural materials or model samples to conservation treatments or practices, as the basis for actions. We see such an approach in Sarah Benson and Siti Suhailah Salim’s paper on ‘Consolidation of flaking painted decorations on a th century cheongsam dress’. We can see that there is not a single approach and that the values we affirm in the objects we preserve change according to their diverse geographic and demographic circumstances, which are reflected in the treatment materials and processes used for the cheongsam. In our professional work and conservation treatments, we do employ reflexivity with a single and double-looped process of enquiry. The practical and mindful experience of conservators are often evaluated from as many different positions as possible along with the questioning of initial assumptions, their origins and diverse material responses to build accumulated knowledge. When conserving materials, ‘materials think in us, as we think through them’ (Ingold , p. ) recalling the words of Tim Ingold where knowledge is tacit and does not reside in words or documents, but can be found in the objects. Conservation literature has also touched on this process of reflexivity, action research and tacit knowledge such as Caple (), Ashely-Smith () and del Terra (), and such views are important to the way conservators critically analyse and write about treatment case studies, praxis and present authorised accounts. In any conservation laboratory or forum, treatment case studies and decision-making is freely shared informally. This may be why the AICCM Special Interest Group Meetings and informal conference discussions are always very popular. However when it comes to scaling up and publishing conservation case studies and treatment approaches in peer review formats, fewer papers reach this stage (Christodulaki & Sloggett ). Papers in recent volumes of the AICCM Bulletin argue the dominance of materials science as the authorised account in cultural
{"title":"Editorial","authors":"N. Tse","doi":"10.1080/10344233.2017.1355587","DOIUrl":"https://doi.org/10.1080/10344233.2017.1355587","url":null,"abstract":"Papers in volume . of the AICCM Bulletin explore the evaluation processes for treatment case studies and their outcomes. Contributions recognise that conservation practice is an assertion of values and that the treatment of objects is a physical representation of the way conservators interact with material culture, thereby highlighting their decision-making and proposing new treatment strategies across the different materials and areas of gilded frames, lead objects, a silk cheongsam, Japanese tissue and collection care. This is not only for the purposes of sharing and learning new practical methods for treatment cases studies, but for the evidence and values that inform our work to be more broadly scrutinised and thereby advanced. Conservation as a practice-based profession can reach a level of transparency and greater certainty via this process of reflexivity. Reflexivity as a method of inquiry recognises the value of patterning our observations, in this case the response of cultural materials or model samples to conservation treatments or practices, as the basis for actions. We see such an approach in Sarah Benson and Siti Suhailah Salim’s paper on ‘Consolidation of flaking painted decorations on a th century cheongsam dress’. We can see that there is not a single approach and that the values we affirm in the objects we preserve change according to their diverse geographic and demographic circumstances, which are reflected in the treatment materials and processes used for the cheongsam. In our professional work and conservation treatments, we do employ reflexivity with a single and double-looped process of enquiry. The practical and mindful experience of conservators are often evaluated from as many different positions as possible along with the questioning of initial assumptions, their origins and diverse material responses to build accumulated knowledge. When conserving materials, ‘materials think in us, as we think through them’ (Ingold , p. ) recalling the words of Tim Ingold where knowledge is tacit and does not reside in words or documents, but can be found in the objects. Conservation literature has also touched on this process of reflexivity, action research and tacit knowledge such as Caple (), Ashely-Smith () and del Terra (), and such views are important to the way conservators critically analyse and write about treatment case studies, praxis and present authorised accounts. In any conservation laboratory or forum, treatment case studies and decision-making is freely shared informally. This may be why the AICCM Special Interest Group Meetings and informal conference discussions are always very popular. However when it comes to scaling up and publishing conservation case studies and treatment approaches in peer review formats, fewer papers reach this stage (Christodulaki & Sloggett ). Papers in recent volumes of the AICCM Bulletin argue the dominance of materials science as the authorised account in cultural","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"38 1","pages":"1 - 2"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2017.1355587","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42156652","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-01-02DOI: 10.1080/10344233.2017.1337324
S. Soleymani, Tracy Ireland, D. McNevin
This study investigates the relationship between acidity and the mechanical properties of two Japanese tissue papers (Yukyu-shi and Sekishu Mare), which were treated with a range of plant dyes, watercolours and acrylic paints and then exposed to artificial ageing. Mechanical strength was correlated with the concentration of hydrogen ion (pH) which is an index of the acidic hydrolysis of cellulose in paper structure. In general, the papers treated with plant dyes were more acidic than those treated with watercolours and acrylic paints. Plant-dyed Japanese papers also displayed less folding and tear resistance after ageing and there was a difference in these properties in both of these papers. The untreated Sekishu Mare papers, as well as those treated with watercolours and acrylic paints, exhibited greater tear resistance than the Yukyu-shi papers treated in the same conditions. The Sekishu Mare and Yukyu-shi papers, both untreated and treated with acrylic paints, as well as the Yukyu-shi papers treated with plant dyes, suffered no loss of folding endurance after ageing, which was unexpected considering that the papers were aged for 12 days at 70°C and 65% relative humidity (RH). This study provides paper conservators with a better understanding of toning materials and their impact on the mechanical and chemical stability of papers often chosen for conservation treatments.
{"title":"Influence of acidity on the mechanical stability of retouched Japanese tissue papers during the course of artificial ageing","authors":"S. Soleymani, Tracy Ireland, D. McNevin","doi":"10.1080/10344233.2017.1337324","DOIUrl":"https://doi.org/10.1080/10344233.2017.1337324","url":null,"abstract":"This study investigates the relationship between acidity and the mechanical properties of two Japanese tissue papers (Yukyu-shi and Sekishu Mare), which were treated with a range of plant dyes, watercolours and acrylic paints and then exposed to artificial ageing. Mechanical strength was correlated with the concentration of hydrogen ion (pH) which is an index of the acidic hydrolysis of cellulose in paper structure. In general, the papers treated with plant dyes were more acidic than those treated with watercolours and acrylic paints. Plant-dyed Japanese papers also displayed less folding and tear resistance after ageing and there was a difference in these properties in both of these papers. The untreated Sekishu Mare papers, as well as those treated with watercolours and acrylic paints, exhibited greater tear resistance than the Yukyu-shi papers treated in the same conditions. The Sekishu Mare and Yukyu-shi papers, both untreated and treated with acrylic paints, as well as the Yukyu-shi papers treated with plant dyes, suffered no loss of folding endurance after ageing, which was unexpected considering that the papers were aged for 12 days at 70°C and 65% relative humidity (RH). This study provides paper conservators with a better understanding of toning materials and their impact on the mechanical and chemical stability of papers often chosen for conservation treatments.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"38 1","pages":"14 - 3"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2017.1337324","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45084256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-01-02DOI: 10.1080/10344233.2017.1342889
Malgorzata Sawicki
Options for loss compensation in water-gilded objects are limited by a constrained number of materials and techniques suitable to imitate distinctive appearance of gilding and a conservators’ individual preference for traditional or non-traditional methods. Evidence-based assessments of selected conservation materials indicated that the synthetic materials, acrylic dispersion Plextol B500, acrylic resin Paraloid B-72, and polyvinyl acetate resin AYAF, are potentially the most useful for compensation of losses in matte water-gilded objects. This prompted a series of experiments involving the testing of ageing characteristics of three synthetic polymers used in gilding, in comparison to those used in traditional gilding. A frame sample, which was gilded using both traditional and non-traditional techniques, was exposed to diurnal fluctuation in relative humidity (RH) and temperature through window glass without ultraviolet filtering for over 10 years. Subsequent examination of the gilded surfaces suggested that fluctuations in humidity occurring in diurnal cycles were inadequate to trigger any failure to gilding caused by movement of the wooden substrate; and any damage to gilding was a consequence of changes affecting the surface only of a protective layer, gold leaf, and polymers. The experiment showed that substantial temperature/humidity fluctuations can cause significant stress, particularly for Paraloid B-72 resin. Furthermore, this experiment demonstrates that Paraloid B-72 resin developed greater brittleness with age than either AYAF or Plextol B500. Despite the obvious physical changes evident within the polymer films, there were little alterations observed in their Fourier transform infrared spectra.
{"title":"Non-traditional gilding revisited: evaluation of gilded surfaces exposed to uncontrolled diurnal fluctuations for over 10 years","authors":"Malgorzata Sawicki","doi":"10.1080/10344233.2017.1342889","DOIUrl":"https://doi.org/10.1080/10344233.2017.1342889","url":null,"abstract":"Options for loss compensation in water-gilded objects are limited by a constrained number of materials and techniques suitable to imitate distinctive appearance of gilding and a conservators’ individual preference for traditional or non-traditional methods. Evidence-based assessments of selected conservation materials indicated that the synthetic materials, acrylic dispersion Plextol B500, acrylic resin Paraloid B-72, and polyvinyl acetate resin AYAF, are potentially the most useful for compensation of losses in matte water-gilded objects. This prompted a series of experiments involving the testing of ageing characteristics of three synthetic polymers used in gilding, in comparison to those used in traditional gilding. A frame sample, which was gilded using both traditional and non-traditional techniques, was exposed to diurnal fluctuation in relative humidity (RH) and temperature through window glass without ultraviolet filtering for over 10 years. Subsequent examination of the gilded surfaces suggested that fluctuations in humidity occurring in diurnal cycles were inadequate to trigger any failure to gilding caused by movement of the wooden substrate; and any damage to gilding was a consequence of changes affecting the surface only of a protective layer, gold leaf, and polymers. The experiment showed that substantial temperature/humidity fluctuations can cause significant stress, particularly for Paraloid B-72 resin. Furthermore, this experiment demonstrates that Paraloid B-72 resin developed greater brittleness with age than either AYAF or Plextol B500. Despite the obvious physical changes evident within the polymer films, there were little alterations observed in their Fourier transform infrared spectra.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"38 1","pages":"15 - 24"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2017.1342889","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49388348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-01-02DOI: 10.1080/10344233.2017.1341722
Sarah Benson, Siti Suhailah Salim
Preparation for an exhibition at the National Museum of Singapore highlighting the cheongsam prompted an investigation into the consolidation of synthetic textiles. Cheongsam, a term used by Cantonese-speaking Singaporeans, usually refers to a tightly fitted dress with an asymmetrical diagonal neckline closure. A mid-20th century cheongsam chosen for the exhibit was in extremely poor condition and any movement caused significant loss to its surface decoration. Very little research on this issue has been carried out in textile conservation, necessitating the review of techniques drawn from other conservation disciplines. Analysis of the textile's manufacture technique via surface morphology and chemical composition using FTIR and SEM improved understanding into the degradation. Investigation of various consolidation materials and application methods using test fabrics identified Aquazol® 50 in ethanol applied with the use of an aerosol spray as an appropriate treatment method. Aquazol® was deemed suitable for the hot and humid Singapore environment and spray application reduced mechanical loss of the fragile decoration. In practice the consolidation treatment of the cheongsam resulted in slight surface tackiness which did not occur during testing. Further research into refining this treatment method for textile conservation can improve current practices of flaking painted textiles.
新加坡国家博物馆(National Museum of Singapore)举办的一场以旗袍为主题的展览的筹备工作，引发了对合成纺织品整合的调查。旗袍是讲广东话的新加坡人使用的一个术语，通常指一种紧身的、不对称的对角线领口。展出的一件20世纪中期的旗袍状况极其糟糕，任何移动都会导致其表面装饰严重受损。在纺织品保护方面对这一问题进行的研究很少，因此需要审查从其他保护学科中吸取的技术。利用红外光谱(FTIR)和扫描电镜(SEM)对纺织品的表面形貌和化学成分进行分析，提高了对降解的认识。使用测试织物对各种固结材料和应用方法进行了调查，确定了在乙醇中使用气溶胶喷雾作为适当的处理方法。Aquazol®被认为适合炎热潮湿的新加坡环境，喷雾应用减少了脆弱装饰的机械损失。在实践中，旗袍的固结处理导致了轻微的表面粘性，这在测试中没有发生。进一步研究改进这种纺织品保护处理方法，可以改善目前油漆纺织品剥落的做法。
{"title":"Consolidation of flaking painted decorations on a 20th century cheongsam dress","authors":"Sarah Benson, Siti Suhailah Salim","doi":"10.1080/10344233.2017.1341722","DOIUrl":"https://doi.org/10.1080/10344233.2017.1341722","url":null,"abstract":"Preparation for an exhibition at the National Museum of Singapore highlighting the cheongsam prompted an investigation into the consolidation of synthetic textiles. Cheongsam, a term used by Cantonese-speaking Singaporeans, usually refers to a tightly fitted dress with an asymmetrical diagonal neckline closure. A mid-20th century cheongsam chosen for the exhibit was in extremely poor condition and any movement caused significant loss to its surface decoration. Very little research on this issue has been carried out in textile conservation, necessitating the review of techniques drawn from other conservation disciplines. Analysis of the textile's manufacture technique via surface morphology and chemical composition using FTIR and SEM improved understanding into the degradation. Investigation of various consolidation materials and application methods using test fabrics identified Aquazol® 50 in ethanol applied with the use of an aerosol spray as an appropriate treatment method. Aquazol® was deemed suitable for the hot and humid Singapore environment and spray application reduced mechanical loss of the fragile decoration. In practice the consolidation treatment of the cheongsam resulted in slight surface tackiness which did not occur during testing. Further research into refining this treatment method for textile conservation can improve current practices of flaking painted textiles.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"38 1","pages":"36 - 42"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2017.1341722","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47920590","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-01-02DOI: 10.1080/10344233.2017.1337949
G. Bailey, J. Brian, C. Champion
Three case studies are presented which demonstrate the effects of long-term build-up of volatile organic compounds (VOCs) on metallic lead in sealed environments. In the first case study, severe lead corrosion was found on an object within a wooden storage case which had been unopened for more than 2 years. In the other two case studies, corroded lead objects were discovered in two showcases which were left unopened for more than a decade. In the showcases the corrosion occurred after an extended incubation period that suggested that the VOCs must accumulate until they reach a critical concentration after which point corrosion occurs rapidly. X-ray diffraction was used to identify the lead corrosion products as lead formate [Pb(HCO2)2] and hydrocerussite [Pb3(CO3)2(OH)2].
{"title":"An Investigation into the Impact of Sealed Wooden and Acrylic Showcases and Storage Cases on the Corrosion of Lead Objects during Long Term Storage and Display","authors":"G. Bailey, J. Brian, C. Champion","doi":"10.1080/10344233.2017.1337949","DOIUrl":"https://doi.org/10.1080/10344233.2017.1337949","url":null,"abstract":"Three case studies are presented which demonstrate the effects of long-term build-up of volatile organic compounds (VOCs) on metallic lead in sealed environments. In the first case study, severe lead corrosion was found on an object within a wooden storage case which had been unopened for more than 2 years. In the other two case studies, corroded lead objects were discovered in two showcases which were left unopened for more than a decade. In the showcases the corrosion occurred after an extended incubation period that suggested that the VOCs must accumulate until they reach a critical concentration after which point corrosion occurs rapidly. X-ray diffraction was used to identify the lead corrosion products as lead formate [Pb(HCO2)2] and hydrocerussite [Pb3(CO3)2(OH)2].","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"38 1","pages":"43 - 50"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2017.1337949","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44435312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/10344233.2016.1251669
S. Cotté, N. Tse, A. Inglis
Artists’ interviews are widely used in the conservation of contemporary art. Best practice is detailed in recent publications, conferences and workshops, however, there is little information on how to analyse the data collected, and the issues related to the dissemination and future access to the content. This article examines various techniques of analysis appropriated from qualitative research in the social sciences, and relates them to the intended uses of interviews in conservation. Drawing on a case study that involved interaction with an artist over several years, including interviews and informal conversations, this article argues that a conservators’ specific skills set has the capacity to interpret the findings and to understand the creative processes. It also highlights the importance of reflexivity and the public circulation of this interpretation, which is essential for the development of a sustainable practice of artists’ interviews in conservation.
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Pub Date : 2016-07-02DOI: 10.1080/10344233.2016.1267437
N. Tse
The papers in volume . are drawn from the presentations at the AICCM National Conference ‘Illuminating the new: contemporary practice and issues in materials conservation’ in Hobart, Tasmania. The conference theme aimed to recognise ‘the challenges facing conservators’ (McDonald ) and reiterated that the things we preserve ‘is a statement of what we respect, who we are and who we wish to be’ (Jones & Holden cited in Williams , p. ). In addressing these challenges, papers range from material and practicebased case studies, reflexivity and positive strategies to move beyond the issues. Case studies make up the majority of papers here and represent the real world examples from where detailed analysis, scoping and a questioning of what we do, can be reported. The practical case study raised in Sarah Babister and Danielle Measday’s paper on ‘Assessing taxidermy on display: contexts, tools and challenges for natural sciences conservation,’ illustrates the unique problembased and cross disciplinary activities known to the conservation profession. Using low cost digital tools that have been tried and tested in the real world, the paper reports on the benefits and new application of GoPro Video cameras to conservation documentation. Their use illustrates a dynamic form of documentation with a future in real time access to information and digital reporting to compliment the strong hold of written condition reports. Similar to the intent of Museum Victoria’s ‘Wild’ exhibit, the GroPro cameras could one day offer increased visual access and visitor interaction, being a focal point for museums today. In doing so, while the exhibition aims to illustrate ‘the fragile state of our biodiversity, environment and climate’ (Babister & Measday ), the use of the GroPro cameras also highlights the risks and fragility of what remains, that being the taxidermy collections. The paper demonstrates the current use of the action cameras to document and visually communicate the risks to the taxidermy collection but also realises the shortcomings of the fixed aperture and large depth of field. This means that close up inspection is limited and highlights that off the shelf technologies are not always applicable to conservation’s unique needs and often requires modifications. Likewise, the scope and unique challenges in cultural materials conservation are reported in two papers by Cash Brown and Gómez Lobón’s ‘Study and Documentation of the Materials and Techniques of Tasmanian Artist Philip Wolfhagen and the implications of the use of beeswax medium in his paintings’, and Sabine Cotte, Nicole Tse and Alison Inglis’ ‘Artists’ interviews and their use in conservation; reflections on issues and practices’. Acknowledging that cultural materials conservation is interdisciplinary and a culmination of technically driven solutions, experiential knowledge and documentary research, both papers show that oral history accounts provide an additional source of knowled
{"title":"The AICCM Bulletin, Volume 37.2 Editorial","authors":"N. Tse","doi":"10.1080/10344233.2016.1267437","DOIUrl":"https://doi.org/10.1080/10344233.2016.1267437","url":null,"abstract":"The papers in volume . are drawn from the presentations at the AICCM National Conference ‘Illuminating the new: contemporary practice and issues in materials conservation’ in Hobart, Tasmania. The conference theme aimed to recognise ‘the challenges facing conservators’ (McDonald ) and reiterated that the things we preserve ‘is a statement of what we respect, who we are and who we wish to be’ (Jones & Holden cited in Williams , p. ). In addressing these challenges, papers range from material and practicebased case studies, reflexivity and positive strategies to move beyond the issues. Case studies make up the majority of papers here and represent the real world examples from where detailed analysis, scoping and a questioning of what we do, can be reported. The practical case study raised in Sarah Babister and Danielle Measday’s paper on ‘Assessing taxidermy on display: contexts, tools and challenges for natural sciences conservation,’ illustrates the unique problembased and cross disciplinary activities known to the conservation profession. Using low cost digital tools that have been tried and tested in the real world, the paper reports on the benefits and new application of GoPro Video cameras to conservation documentation. Their use illustrates a dynamic form of documentation with a future in real time access to information and digital reporting to compliment the strong hold of written condition reports. Similar to the intent of Museum Victoria’s ‘Wild’ exhibit, the GroPro cameras could one day offer increased visual access and visitor interaction, being a focal point for museums today. In doing so, while the exhibition aims to illustrate ‘the fragile state of our biodiversity, environment and climate’ (Babister & Measday ), the use of the GroPro cameras also highlights the risks and fragility of what remains, that being the taxidermy collections. The paper demonstrates the current use of the action cameras to document and visually communicate the risks to the taxidermy collection but also realises the shortcomings of the fixed aperture and large depth of field. This means that close up inspection is limited and highlights that off the shelf technologies are not always applicable to conservation’s unique needs and often requires modifications. Likewise, the scope and unique challenges in cultural materials conservation are reported in two papers by Cash Brown and Gómez Lobón’s ‘Study and Documentation of the Materials and Techniques of Tasmanian Artist Philip Wolfhagen and the implications of the use of beeswax medium in his paintings’, and Sabine Cotte, Nicole Tse and Alison Inglis’ ‘Artists’ interviews and their use in conservation; reflections on issues and practices’. Acknowledging that cultural materials conservation is interdisciplinary and a culmination of technically driven solutions, experiential knowledge and documentary research, both papers show that oral history accounts provide an additional source of knowled","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"37 1","pages":"49 - 50"},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2016.1267437","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59924064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/10344233.2016.1249629
R. Sloggett
This paper seeks to reframe the ways in which the future of the conservation profession is perceived. Maintaining that it is issues of access and preservation as established in the 1975 Pigott Report that remain primary concerns for conservation, the paper explores the kinds of evidence-based research useful in determining potential conservation futures. Using the 1995 National Conservation and Preservation Policy for Movable Cultural Heritage as a point of reference, and rejecting the centralized model of institutional dependence as no longer being essential to the growth of the conservation profession, an articulated series of sector-focused Green Papers is proposed as a way of reconfiguring key questions about conservation, and in order to provide metrics relating to location, responsibility, significance, risk and efficacy. The findings can then be compiled as content for a broader White Paper that engages with a critical response to risks to the survival of Australia's cultural material.
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Pub Date : 2016-07-02DOI: 10.1080/10344233.2016.1249628
Cash Brown, Mar Gomez Lobon
This paper investigates the unique materials and methods of Tasmanian artist Philip Wolfhagen (b. 1963), known for the use of beeswax in his oil paintings. A comprehensive record of the materials the artist used from 1989 until 2014 is presented, including supports, grounds, painting mediums, recipes and techniques, varnishes and glazes, framing and final presentation, as well as the conceptual rationale and meanings behind his choice of materials. The information was gathered through a series of interviews at the artist's studio in Longford, Tasmania, and access to his journals and studio notes. In view of the materials and techniques, the vulnerabilities of all media components, coupled with the results from examinations of representative paintings are also addressed. Some conservation problems observed relate to wax mediums and the use of shellac as a barrier layer in some early works. Implications of the artist's use of beeswax and dammar resin medium are discussed as is the potential risk of failure of zinc white on acrylic emulsion grounds. The study presents outcomes of a holistic approach to the documentation of a living artist's entire oeuvre.
{"title":"Study and Documentation of the Materials and Techniques of Tasmanian Artist Philip Wolfhagen and the implications of the use of beeswax medium in his paintings","authors":"Cash Brown, Mar Gomez Lobon","doi":"10.1080/10344233.2016.1249628","DOIUrl":"https://doi.org/10.1080/10344233.2016.1249628","url":null,"abstract":"This paper investigates the unique materials and methods of Tasmanian artist Philip Wolfhagen (b. 1963), known for the use of beeswax in his oil paintings. A comprehensive record of the materials the artist used from 1989 until 2014 is presented, including supports, grounds, painting mediums, recipes and techniques, varnishes and glazes, framing and final presentation, as well as the conceptual rationale and meanings behind his choice of materials. The information was gathered through a series of interviews at the artist's studio in Longford, Tasmania, and access to his journals and studio notes. In view of the materials and techniques, the vulnerabilities of all media components, coupled with the results from examinations of representative paintings are also addressed. Some conservation problems observed relate to wax mediums and the use of shellac as a barrier layer in some early works. Implications of the artist's use of beeswax and dammar resin medium are discussed as is the potential risk of failure of zinc white on acrylic emulsion grounds. The study presents outcomes of a holistic approach to the documentation of a living artist's entire oeuvre.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"37 1","pages":"66 - 76"},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2016.1249628","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59923318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/10344233.2016.1238864
Sophie Theobald Clark, Gillian Osmond
The William Robinson Gallery is the only gallery in Australia dedicated to the work of a living artist. The significance of this collection in conjunction with the artist's co-operation has provided impetus for a research project dedicated to compiling a technical art history of Robinson's materials and techniques for posterity, and to inform long-term conservation of the artist's works. Artist's interviews, technical analysis and an online conservation survey reveal that Robinson's materials and techniques evolved in response to the changes in his subject matter and also highlighted discrepancies where the presence of certain materials, or lack thereof, was unintended by the artist. Some of these materials, such as zinc stearate, are associated with deterioration in the artists’ work. Samples from 16 paintings were investigated using a combination of analytical techniques including optical microscopy, ultraviolet fluorescence photography, Fourier Transform Infrared microspectroscopy, Scanning Electron Microscopy with Energy Dispersive X-ray analysis and Synchrotron source Fourier Transform Infrared microspectroscopy.
{"title":"The Materials and Techniques of William Robinson","authors":"Sophie Theobald Clark, Gillian Osmond","doi":"10.1080/10344233.2016.1238864","DOIUrl":"https://doi.org/10.1080/10344233.2016.1238864","url":null,"abstract":"The William Robinson Gallery is the only gallery in Australia dedicated to the work of a living artist. The significance of this collection in conjunction with the artist's co-operation has provided impetus for a research project dedicated to compiling a technical art history of Robinson's materials and techniques for posterity, and to inform long-term conservation of the artist's works. Artist's interviews, technical analysis and an online conservation survey reveal that Robinson's materials and techniques evolved in response to the changes in his subject matter and also highlighted discrepancies where the presence of certain materials, or lack thereof, was unintended by the artist. Some of these materials, such as zinc stearate, are associated with deterioration in the artists’ work. Samples from 16 paintings were investigated using a combination of analytical techniques including optical microscopy, ultraviolet fluorescence photography, Fourier Transform Infrared microspectroscopy, Scanning Electron Microscopy with Energy Dispersive X-ray analysis and Synchrotron source Fourier Transform Infrared microspectroscopy.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"37 1","pages":"51 - 65"},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2016.1238864","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59923539","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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