https://orcid.org/0000-0003-2496-9310
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ABSTRACT
The cleaning of a poly(methyl methacrylate) (PMMA) sculpture, Op Structure by Michael Dillon (1967, Tate Collection T03717), was undertaken as a case study during the NANORESTART project. Novel cleaning techniques, including microemulsions and gels, were evaluated and compared against more commonly used treatment methods on mock-ups created to broadly represent the conservation challenges presented by this artwork. The experimental design is presented, including the creation of mock-ups of a contemporary plastic work that required surface soil reduction and removal of two non-original labels with different pressure-sensitive adhesives. More than thirty cleaning systems were applied to soiled mock-ups and evaluated using a combination of imaging, instrumental analysis, and empirical observations. A summary of results, which reflect the decision-making process that led to the final treatment strategy, is presented. After extensive trials, surface cleaning was carried out using an aqueous surfactant-chelator solution applied with microfiber cloths; adhesive labels were removed with dilute water/propan-2-ol cotton poultices.
RÉSUMÉ
Le nettoyage d'une sculpture en poly(méthacrylate de méthyle) (PMMA), Op Structure de Michael Dillon (1967, Tate Collection T03717), a été entrepris comme étude de cas dans le cadre du projet NANORESTART. De nouvelles techniques de nettoyage, notamment des microémulsions et des gels, ont été évaluées et comparées à des traitements plus couramment utilisés sur des échantillons créés pour représenter globalement les défis de conservation soulevés par cette œuvre d'art. Le dispositif expérimental est présenté, y compris la création d'échantillons de l'œuvre contemporaine en plastique qui nécessite l'allègement de saletés superficielles et le retrait de deux étiquettes non originales comportant différents adhésifs sensibles à la pression. Plus de trente systèmes de nettoyage ont été appliqués aux échantillons souillés, et évalués grâce à une combinaison d'imagerie, d'analyses instrumentales et d'observations empiriques. Un résumé des résultats, qui reflète le processus de prise de décision qui a conduit à la stratégie finale de restauration, est présenté. Après des tests exhaustifs, le nettoyage de surface a été effectué à l'aide d'une solution aqueuse de tensioactif chélateur appliquée avec des chiffons microfibres, et les étiquettes adhésives ont été enlevées à l'aide de cataplasmes de coton imbibés d'une dilution eau/propane-2-ol. Traduit par Isabelle Cloutier.
RESUMO
A limpeza de uma escultura de poli (metil metacrilato) (PMMA), Op Structure de Michael Dillon (1967, Tate Collection T03717), foi realizada como um estudo de caso durante o projeto NANORESTART. Novas técnicas de limpeza, incluindo microemulsões e géis, foram avaliadas e comparadas com métodos de tratamento mais comumente utilizados em maquetes criadas para representar amplamente os desafios de conservação apresentados por este tipo de obra de arte. O design experimental é apresentado, incluindo a criação de maquetes de um trabalho plástico contemporâneo que exigia a redução do solo superficial e a remoção de dois rótulos não originais com diferentes adesivos sensíveis à pressão. Mais de trinta sistemas de limpeza foram aplicados a maquetes sujas e avaliados por meio de uma combinação de imagens, análise instrumental e observações empíricas. Este artigo apresenta um resumo dos resultados, que refletem o processo de tomada de decisão que levou à estratégia final de tratamento. Após extensos ensaios, a limpeza de superfície foi realizada utilizando uma solução aquosa de surfactante quelante aplicada com panos de microfibra; as etiquetas adesivas foram removidas com cataplasmas de algodão diluído em água/propano-2-ol. Traduzido por Beatriz Haspo.
RESUMEN
La limpieza de una escultura de poli(metacrilato de metilo) (PMMA), Op Structure de Michael Dillon (1967, Tate Collection T03717), se llevó a cabo como estudio de caso durante el proyecto NANORESTART. Se evaluaron nuevas técnicas de limpieza, incluidas microemulsiones y geles, y se compararon con métodos de tratamiento más utilizados en maquetas creadas para representar ampliamente los desafíos de conservación que presenta esta obra de arte. Se presenta el diseño experimental, incluyendo la creación de maquetas de una obra plástica contemporánea que requirió reducción de suciedad superficial y remoción de dos etiquetas no originales con diferentes adhesivos sensibles a la presión. Se aplicaron más de treinta sistemas de limpieza a las maquetas sucias y se evaluaron mediante una combinación de imágenes, análisis instrumental y observaciones empíricas. Se presenta un resumen de los resultados, que reflejan el proceso de toma de decisiones que condujo a la estrategia de tratamiento final. Después de extensas pruebas, la limpieza de la superficie se llevó a cabo utilizando una solución acuosa de quelante de tensioactivos aplicada con paños de microfibra; las etiquetas adhesivas se retiraron con cataplasmas de algodón impregnadas de diluciones de agua/propan-2-ol. Traducción: Amparo Rueda.
Acknowledgements
Thei authors are thankful to: all NANORESTART partners, in particular, David Chelazzi, Nicole Bonelli, Michele Baglioni, Rodorico Giorgi, and Piero Baglioni for providing materials and training; Tate Conservation, Research and Photography Departments - Joyce Townsend, Deborah Potter, Deborah Cane, Andrew Wilson, Joe Humprhys and Roger Murray; Mark Kearney and Emma Richardson, both formerly UCL.
Disclosure statement
No potential conflict of interest was reported by the author(s).
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Notes on contributors
Lora V. Angelova
Lora V. Angelova is Head of Conservation Research and Audience Development at The National Archives, UK. She was the Tate NANORESTART Postdoctoral Conservation Science Researcher in 2016–2017. Lora received a PhD in Chemistry from Georgetown University for research on polymer gels for the surface cleaning of cultural heritage, carried out in collaboration with the National Gallery of Art, Washington DC. She was a Newton International Fellow at the Melville Laboratory for Polymer Synthesis at the University of Cambridge and the Material Studies Laboratory, Department of History of Art, University College London. Email: [email protected]
Gates Sofer
Gates Sofer is an accredited Sculpture and Installation Conservator at Tate who focusses on displays and exhibitions at Tate Britain. After training at the Institute of Archaeology, of the University College London and West Dean College, she worked as a metalwork conservator at the Victoria & Albert Museum before coming to Tate in 2010. She was recently a case study conservator within the NANORESTART project 2016–18, testing novel nano-structured fluids in hydrogels compared to traditional cleaning methods for PMMA. Trained in the conservation of metals, she now works with a wide variety of modern and contemporary materials. Email: [email protected]
Angelica Bartoletti
Angelica Bartoletti is a postdoctoral research fellow at NOVA School of Science & Technology (DCR/FCT-UNL) working on plastics conservation. She was the Tate NANORESTART Postdoctoral Conservation Science researcher between 2017 and 2019. Email: [email protected]
Bronwyn Ormsby
Bronwyn Ormsby is Principal Conservation Scientist at Tate, London, and leads the Conservation Science and Preventive Conservation section of Tate’s Conservation Department. Bronwyn was principal investigator for Tate’s contribution to the NANORESTART project (2015-2018) and specializes in the analysis of art materials and has a long history of research into the techniques and conservation treatment of modern and contemporary art. Email: [email protected]