Growing Pains: Characterization of Efflorescence on a Large-Scale Magnesium Relief by Frank Stella

ABSTRACT

A large-scale work by Frank Stella, Giufà, la luna, i ladri e le guardie (1984), exhibited crystalline growth on painted and unpainted surfaces after nearly 30 years of storage. µ-FTIR and Raman spectroscopy identified the efflorescence in addition to some of the pigments in Stella’s paints. A fatty acid efflorescence was found on the surface of oil paint passages, in contrast to magnesium formate found on the uncoated magnesium support as well as on and under polyurethane and alkyd paint passages. The magnesium formate is the product of interaction between etched magnesium skins and formic acid possibly emitted from both the crate used for storage and the alkyd paint used in Giufà. Consolidation techniques were attempted on alkyd paint blistered from formate efflorescence, but did not proceed. The sculpture was rehoused in a ventilated crate made from heat-treated wood and lined with Marvelseal.

RÉSUMÉ

Une œuvre surdimensionnée de Frank Stella, Giufà, la luna, i ladri e le guardie (1984), présentait une croissance cristalline sur ses surfaces peintes et non peintes après avoir passé près de 30 ans dans un entrepôt. Les spectroscopies µ-FTIR et Raman ont permis d'identifier l'efflorescence ainsi que certains des pigments des peintures utilisées par Stella. Une efflorescence d'acide gras a été trouvée sur la surface des couches de peinture à l'huile, alors que du formiate de magnésium a été trouvé sur le support de magnésium nu ainsi que sur et sous les couches de peinture polyuréthane et alkyde. Le formiate de magnésium est le produit de l'interaction entre les peaux de magnésium gravées et l'acide formique probablement émis à la fois par la caisse utilisée pour l'entreposage et par la peinture alkyde utilisée dans Giufà. Des techniques de consolidation de la peinture alkyle boursouflée à cause des efflorescences de formiate ont été testées, mais n'ont pas été poursuivies. La sculpture a été relogée dans une caisse ventilée faite de bois traité thermiquement et revêtue de Marvelseal. Traduit par Monique Benoit.

RESUMO

Um trabalho em larga escala de Frank Stella, “Giufà, la luna, i ladri e le guardie” (1984), exibiu crescimento cristalino em superfícies pintadas e não pintadas após quase 30 anos de armazenamento. Espectroscopia μ-FTIR e Raman identificaram a eflorescência, além de alguns dos pigmentos nas tintas de Stella. Uma eflorescência de ácidos graxos foi encontrada na superfície das pinceladas de tinta a óleo, em contraste com o formato de magnésio encontrado no suporte de magnésio não revestido, bem como em pinceladas de tinta poliuretano e alquilo. O formato de magnésio é o produto da interação entre peles de magnésio gravadas e ácido fórmico possivelmente emitido tanto da caixa usada para armazenamento quanto da tinta alquila usada em “Giufà”. As técnicas de consolidação foram tentadas em tinta alquila empolada a partir da eflorescência de formato, mas não procedeu. A escultura foi realojada em uma caixa ventilada feita de madeira tratada com calor e forrada com selo Marvel. Traduzido por Francisco Vieira.

RESUMEN

Una obra a gran tamaño de Frank Stella, Giufà, la luna, i ladri e le guardie (1984), presentó una acrecencia cristalina sobre las superficies pintadas y sin pintar después de casi 30 años de almacenamiento. Espectroscopía µ-FTIR y Raman identificaron la eflorescencia además de algunos de los pigmentos en las pinturas de Stella. Una eflorescencia de ácidos lipídicos fue hallada sobre las partes de las superficies con pintura al óleo, a diferencia de formiato de magnesio hallado en el soporte de magnesio que estaba sin recubrir, como también sobre y por debajo de áreas con pintura de poliuretano y alquídica. El formiato de magnesio es el producto de la interacción entre las costras grabadas de magnesio y el ácido fórmico posiblemente emitido tanto por la caja utilizada para el almacenamiento como por la pintura alquídica utilizada en Giufà. Técnicas de consolidación fueron intentadas en la pintura alquídica ampollada por la eflorescencia de formiato, pero no se procedió. La escultura fue reubicada en una caja ventilada, de madera tratada térmicamente y revestida con Marvelseal. Traducción: Irene Delaveris; revisión: Amparo Rueda.

KEYWORDS:

• Frank Stella
• efflorescence
• µ-FTIR
• Raman
• pigment identification
• paint identification, metal corrosion

Acknowledgements

We at MoMA are grateful to Ana Martins, George Bisacca, and Beth Nunann for their advice and candor. Haddad and Bloser are thankful for The David Booth Fellowship program in Conservation Science and Objects Conservation, respectively.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Additional information

Notes on contributors

Abed Haddad

Abed Haddad is Assistant Conservation Scientist at the Museum of Modern Art, New York (MoMA), where he works closely with conservators on research, treatment, storage, and environmental monitoring. He is particularly interested in the characterization and technical study of modern and contemporary pigments and paints. He holds a bachelor's degree in chemistry from Millsaps College in Jackson, MS, and a doctoral degree in chemistry from the Graduate Center at the City University of New York. He was an IRES NU-ACCESS Fellow at the Rijksmuseum and University of Amsterdam (UvA) in 2016 and the David Booth Fellow in Conservation Science at MoMA (2019-2022). He is currently Program Chair for AIC’s Research and Technical Studies (RATS) group. Address: Museum of Modern Art, 11 W 53rd St, New York, NY 10019. E-mail: [email protected].

Joy Bloser

Joy Bloser is Assistant Objects Conservator at The Menil Collection in Houston, Texas, and specializes in contemporary art and plastics. She was formerly the Assistant Conservator for Public Outreach at the MFA Boston and the David Booth Fellow in Sculpture Conservation at The Museum of Modern Art, New York (2018-2020). She earned her MS in Conservation and MA in Art History from The Institute of Fine Arts, NYU, and a BA in Chinese Language and Art History from Middlebury College. She is a contributing Chinese translator to LEAP Magazine and Yishu Journal and serves as Assistant Program Chair for AIC’s Contemporary Art Network (CAN!). Address: The Menil Collections, Conservation, 1533 Sul Ross St, Houston, TX 77006 Email: [email protected]

Emily Mulvihill

Emily Mulvihill is a Modern and Contemporary Painting Conservator, director of Current Art Conservation in Australia, and the Registrar at the Murray Art Museum Albury. Emily works closely with regional communities to care for their collections and is also focused on raising the profile of contemporary art conservation in Australia. She obtained her Masters of Cultural Materials Conservation from the University of Melbourne Australia, and a Bachelor of Fine Arts from the National Art School in Sydney, Australia. Email: [email protected]

Lynda Zycherman

Lynda Zycherman is Sculpture Conservator at the Museum of Modern Art, New York, and was trained at the Conservation Center of the Institute of Fine Arts at New York University, the Metropolitan Museum, and The Freer Gallery of Art. Lynda’s current research focuses on artists’ practices and materials, especially those of Brancusi, Dubuffet, Giacometti, Matisse, and Picasso. Address: As for Haddad. Email: [email protected]