Posts tagged ‘Conservation’
MoMA’s Jackson Pollock Conservation Project: One: Number 31, 1950—Characterizing the Paint Surface Part 2
Empirical examination and scientific analysis are fundamental to conservation research and treatment; conservators frequently collaborate with scientists in order to clarify specific questions: to identify materials, elucidate degradation mechanisms, or test the efficacy of conservation methods. Read more
The Unité d’Habitation was a landmark in modern architecture and design, and one of the first attempts to create highly designed spaces for low-income families. Along with apartments, the building included a half floor reserved for merchants, a pre-school, and a rooftop playground with wading pool and gymnasium. Le Corbusier was extremely efficient in the use of space, modeling his design on that of cruise ships, Read more
One of the initial challenges in conserving a design piece that has been in use for over 60 years is assessing where the work has been modified over the years by the owners, and if it is truly complete. Like in our own homes, parts of this Le Corbusier kitchen have been replaced, painted over, lost, and damaged. Read more
In the fall of 2011, we traveled to a leafy suburb of Munich, Germany, to examine a kitchen that the Department of Architecture and Design hoped to purchase. When we arrived, there in the garage of a collector we found an assembled kitchen from Unité d’Habitation, Le Corbusier’s famous apartment building in Marseille. Read more
The following tips are suggestions from conservators, but please realize that every painting and circumstance is different, and that these are general guidelines. A conservator may choose very different treatment options from those presented below upon seeing the painting’s condition. Read more
Watch for water that has collected between the stretcher and the reverse of the painting. If a lot of water has accumulated, tip the painting so that the water can run out and away from the painting (i.e., tip the painting bottom face upwards and the top reverse downwards, so the water runs off the stretcher and not into the canvas). Read more
Never remove a wet painting from its stretcher bars. The stretcher bars are keeping the canvas from shrinking. The painting is apt to generate enormous tension in the wet canvas—somewhat less so with salt or brackish water—as the fibers swell with the water. Read more
Dealing with paintings in their frames poses a difficult set of tradeoffs. First remove all backing materials—paper, cardboard, Foam Core Board, or plastics.
Remove paper or cardboard backings from the reverse of the painting. Read more
Never wrap a wet painting in plastic, as this will promote mold growth. Also, the surface may be quite fragile and nothing should come in contact with the surface until it has been thoroughly dried and inspected.
Paintings wrapped in plastic should be removed from the plastic to prevent mold growth if they were in a damp environment Read more