Care of Plastics In Art & Design collections

Scope Artists’ plastics Care principles - a stable environment Identification – prioritise problem plastics Signs and Causes of Deterioration Preparation, handling, storage and display Labelling Cleaning Other options

– Artists’Plastics Paints Acrylics, PVA – poly vinyl acetate

– Artists’Plastics Paints -acrylic, polyvinyl acetate GRP – Glass Reinforced Plastic Philip King Tra-La-La x 762 x 762 mm

– Artists’Plastics Paints -acrylic, polyvinyl acetate GRP – glass reinforced plastic Polyester resin Arman Venus of the shaving brushes c.1968

– Artists’Plastics Paints -acrylic, polyvinyl acetate GRP – glass reinforced plastic Polyester resin Silicone resins Ron Mueck Ghost 1998 Fibreglass, silicone, polyurethane foam, acrylic fibre and fabric 2019 x 648 x 991 mm

– –Naum Gabo Linear construction in space no h.1150mm Artists’Plastics Paints -acrylic, polyvinyl acetate GRP – glass reinforced plastic Polyester resin Silicone resins PMMA - Acrylic

– Artists’Plastics Paints -acrylic, polyvinyl acetate GRP – glass reinforced plastic Polyester resin Silicone resins PMMA - Acrylic Mixed media, found objects & readymades

Bruce LaceyBruce Lacey The Womaniser 1966 Mixed media 1500 x 1650 x 730 mm

– Artists’Plastics Paints -acrylic, polyvinyl acetate GRP – glass reinforced plastic Polyester resin Silicone resins PMMA - Acrylic Mixed media, found objects & readymades Cellulosics –cellulose nitrate and acetate Naum Gabo, Column 1920 h.144mm

– Artists’Plastics Paints -acrylic, polyvinyl acetate GRP – glass reinforced plastic Polyester resin Silicone resins PMMA - Acrylic Mixed media, found objects & readymades Cellulosics –cellulose nitrate and acetate Photographic, new media, videos, tapes and disks Scrap heap services

Artists’Plastics Paints -acrylic, polyvinyl acetate GRP – glass reinforced plastic Polyester resin Silicone resins PMMA - Acrylic Mixed media, found objects & readymades Cellulosics –cellulose nitrate and acetate Photographic, new media, videos, tapes and disks Polymer clay Thomas Schutte from United Enemies 1993 h.350mm

Carol Blackburn Polymer clay bowls 2007 each 45 x 75mm diam

Care principles Prevention Damage is irreversible. Create a dark, cool, clean, dry and stable environment

Care principles Prevention Damage is irreversible, create a stable environment Purpose – what are we trying to achieve? Mission policy, display, reference, hands on, accommodate artist’s intent?

Care principles Prevention Damage is irreversible, create a stable environment Purpose – what are we trying to achieve? Mission policy, display, reference, hands on, accommodate artist’s intent? Continuity - establish good practice Maximise access, minimise handling

Care principles Prevention – damage is irreversible Purpose – what are we trying to achieve? Mission policy, display, reference, hands on, accommodate artist’s intent? Continuity - establish good practice Maximise access, minimise handling Identify, document, record and monitor Survey, Photography, avoid hot lights. Annual check of ‘at risk’ works

Care principles Prevention – damage is irreversible Purpose – what are we trying to achieve? Mission policy, display, reference, hands on, accommodate artist’s intent? Continuity - establish good practice Maximise access, minimise handling Identify, document, record and monitor Survey, Photography, avoid hot lights. Annual check of ‘at risk’ works Any plan is better than none

Prioritise the problem plastics Identify: –Cellulose acetate –Cellulose nitrate (celluloid) –Plasticised PVC –Polyurethane polyester foams Isolate Ventilate Monitor

Signs of Deterioration Odour – acidic, camphor (CN) Change: colour -yellowing, bleaching shape –distortion, sagging, sweating – oily spots bloom – white powder cracks, splits (CAc) and crazing(CN) Corrosion of metal parts Discolouration of packing materials Increased brittleness, crumbling of foam Onset is unpredictable and rapid Occurs at stress points and handled areas Unstable environments cause stress

Gabo Construction in Space (Crystal)1937: Details of condition in 2007

Causes of deterioration Inherent vice –material, manufacture, history, shape, stress

Causes of deterioration Inherent vice –material, manufacture, history, shape, stress Unstable environment -excess light, temperature swings, changes in relative humidity, pollutants

Causes of deterioration Inherent vice –material, manufacture, history, shape, stress Unstable environment -excess light, temperature swings, changes in relative humidity, pollutants Mechanical damage – handling, transport & housekeeping. Wear gloves

Causes of deterioration Inherent vice –material, manufacture, history, shape, stress Unstable environment -excess light, temperature swings, changes in relative humidity, pollutants Mechanical damage – handling, transport & housekeeping. Wear gloves Cleaning and misconceived repairs

Light damage Cumulative and irreversible Affects both the plastic and pigments Control light in storage and on display UV component in light is most damaging Use UV filters on windows and lights

Storage Stable conditions at all times Clean & dry Cool & dark Minimise handling labels

Storage Use: ‘archival’ quality material –Avoid contact with wood, metals, dust and other ‘objects’ –Acid free paper –Silicone release paper –Polyester wadding –Polypropylene containers –Plastazote (closed cell polyethylene foams)

Storage – Problem Plastics Isolate and separate ‘at risk’ from ‘deteriorating’ objects Use: –Acid free paper –Silicone release paper –Polyester wadding –Ventilated polypropylene containers Scavengers for acidic gases –Charcoal cloth and zeolites –Artsorb board

Gabo –cellulose acetate storage with plastazote & charcoal cloth in ventilated polypropylene bin

Storage – Problem Plastics Check vulnerable ‘at risk’ items at least once a year, preferably more often. Use smell and dampened indicator strip to confirm acidic off- gassing.

Construction in Space ‘Two Cones’ (c.1968) Photo taken 1978

Construction in Space ‘Two Cones’ (c.1968)

Display –Problem Plastics Low light - less than 100 lux Ventilated plinth covers Allow at least 72 hours for plinth paint to dry before covering

Labelling Avoid solvent based inks, paints and isolating layers. Avoid adhesive tapes Avoid rubber bands Use tie on labels with cotton tape Use soft pencil (inside objects)

Cleaning To remove dust and contaminants Cleaning causes damage – both mechanical and chemical Decide on a balance between appearance and risk of damage Avoid solvents, eg alcohols, acetone, cellulose thinners, cleaning fluids Use soft dry lint free cloths, eg microfibre For stubborn marks only, use water to dampen cloth and dry immediately

Other plastic formats Fabrics – costumes and accessories - provide supports, isolate PVC’s Photograhic – archival quality storage materials New media: videos, tapes, disks – a management policy is essential for maintenance and migration.

UK conservation supplies Conservation by Design design.co.uk Preservation equipment To find a conservator- Book- ‘Plastics, collecting and conserving’ Quye & Williamson Article -Scott Williams – Care of Plastics; Malignant Plastics – 8 pages –google it or…

Care Summary Know what you’ve got – survey & record

Care Summary Know what you’ve got – survey & record Keep in clean, cool, dry stable conditions

Care Summary Know what you’ve got – survey & record Keep in clean, cool, dry stable conditions Avoid light

Care Summary Know what you’ve got – survey & record Keep in clean, cool, dry stable conditions Avoid light Isolate CN, CAc, PVC’s,

Care Summary Know what you’ve got – survey & record Keep in clean, cool, dry stable conditions Avoid light Isolate CN, CAc, PVC’s, Monitor

Care Summary Know what you’ve got – survey & record Keep in clean, cool, dry stable conditions Avoid light Isolate CN, CAc, PVC’s, Monitor Keep on collecting and researching

Jim Lambie Tate Britain 2001

3D Documentation of Plastic Sculptures by Naum Gabo in Tate’s Collection A Project Funded by The Andrew W. Mellon Foundation

Tate version Gabo Construction on a Line (1937-8) Undated photo c.1940’s

OriginalReplica

OriginalReplica

OriginalReplica

Construction on a line (c – 7 ) Naum Gabo.

Richard Artschwager Table and Chair Melamine laminate and wood object: 755 x 1320 x 952 mm object: 1143 x 438 x 533 mm

Spiral Theme (c. 1941) Construction in Space ‘Crystal’ (c. 1937) The two sculptures chosen for our pilot study

Spiral Theme 1941: Photo taken in 2007

Laser scanning ‘Construction in Space “Crystal”

‘ Construction in Space “Crystal” (Model coloured to show different component parts) Data from Plowman Craven

Photogrammetry Lines drawn from different camera position to targets on the object A1 A2 A3 Taking measurements in 3D space from photogrammetric images

Use of the touch probe

Construction in Space “Crystal”: Showing warping of form