This setting naturally encourages the differential soiling of the lower portion of each of the ropes, which eventually results in the rope-ends becoming darkened and yellowed (Fig. Paris: International Council of Museums; 2017. pp. respectively) was selected for initial tests, combined with Xanthan gum, Shin-Etsu KSG350z, Nanorestore Gel® Peggy 6 and TT14 thin. 19-27. Partially hydrolyzed poly(vinyl acetate)-borax based gel-like materials for conservation of art: characterization and applications. 2003;48:3–12. Los Angeles: Getty Conservation Institute; 2007. pp. Privacy Examination of the cleaned sections revealed no changes to the rope surface topography; though the gel strip proved difficult to place neatly within the pipe section. 16). A piece of plumbing pipe, cut in half and lined with Plastazote foam and Mylar, was also applied onto the gel and clamped in place for between 1 and 10 min (Additional file 1: Fig. Photo Tate 2017, © The estate of Eva Hesse, courtesy Hauser & Wirth, Zürich. CAS  FTIR-2D mapping at 1670 cm−1 (C=O stretching of PVP) for pristine area (i.e. The gels, received in 15 × 10 cm sheets ready for use, were cut into strips of approximately 5–10 mm width and prepared for application by soaking overnight in the cleaning solution (cleaning gels) or deionised water (clearance gels). However, the mock-up samples proved useful for becoming familiar with the handling and use of novel materials and for initial soiling removal efficacy trials. and 2% w/w. 17).Footnote 22, The removal of the yellowed soiling from the ropes enabled a better colour uniformity between the papier mâché and the ropes (a), particularly in areas where the uppermost p(nBA-MMA) coating was thin or not present (b). General observations and comments were recorded on the relative cleaning efficacy and intrinsic risks related to each system (such as pigment/coating removal swelling or changes to the surface). After these tests, no excess liquid was noted on the rope mock-ups or Mylar, and impressions left in the gel suggested it had conformed to the rope textures. Photo © Tate 2017, Preliminary tests on rope number 9 from Addendum. In: The AIC paintings specialty group postprints: proceedings from the 38th annual meeting of the american institute for conservation and historic works, Milwaukee, Wisconsin, 11–14 May 2010. The cleaning efficacy was further improved using higher concentrations (i.e. Key observations after trials of non-confined cleaning solutions (10-swab roll applications) on both papier mâché and rope mock-ups and Addendum. Browse the museum’s online collection of essays, videos, quick-reads + … August 10–11, 2017. http://www.jameslever.co.uk/index.html (accessed 12.12.19). The images or other third party material in this article are included in the article's Creative Commons licence, unless indicated otherwise in a credit line to the material. http://www.csgi.unifi.it/products/gel.html (accessed 12.12.19). In some particularly soiled areas (i.e. Angelova LV, Matarrese C, Fratini E, Weiss RG, Dei L, Carretti E. Chelating agents in aqueous, partially-hydrolyzed, poly(vinyl acetate) dispersions crosslinked with borax. Chris Stavroudis. Like much of Eva Hesse’s work, No Title substitutes fragile substances and irregular, organic forms for the rigid geometries and industrial materials of Minimalism, one of the dominant modes of art-making in the mid-1960s. This paper describes the methodology and practice-based research underpinning the development of a successful cleaning strategy for Eva Hesse’s sculpture Addendum (1967, Tate Collection T02394). In early August 2017 we had the privilege of inviting Briony Fer, Professor of History of Art at University College of London and member of Tate’s Collection Committee, who is an expert on Eva Hesse’s work. 77-87. respectively) loaded into 4 containing systems: Xanthan gum; Shin-Etsu KSG350z; Nanorestore Gel® Peggy 6; TT14 thin. New York: New York University Press; 1976. A preliminary investigation. The papier mâché board, hemisphere and rope mock-up samples with Addendum in the background (A). in 1959. When combined with the removal of soiling from the papier mâché section using optimised aqueous solutions applied with sponges and cloths, the cleaning treatment was highly successful in recovering the uniformity between the papier mâché section and the 17 ropes, returning the work to a more authentic state. London: Archetype Publications Ltd; 2017. pp. Angelova LV, Ormsby B, Richardson E. Diffusion of water from a range of conservation treatment gels into paint films studied by unilateral NMR. 10, small blue areas are present in all treated locations; however, similar features are also present in the control samples. This cloth is also very absorbent, and after blotting, did not release liquid onto the mock-up surface. After extensive testing, the top papier mâché section of Addendum was surface cleaned using an aqueous solution applied with cosmetic sponges, and the ropes were surface cleaned using a modified version of Nanorestore Gel® Peggy 5 (PVA/PVP) loaded with a tailored aqueous solution. Partially hydrolysed poly(vinyl acetate)-borax (PVAc-borax) mouldable gels [28,29,30,31] were included due to their ability to conform and maintain a specific shape; and the rigid polysaccharide gel Agarose [32,33,34,35,36] was included due to the possibility of applying this material warm and left to gel in situ. These factors, when combined with ongoing Health and Safety concerns,Footnote 16 resulted in the ratings shown in Fig. One other key advantage of this series is the ability to fine-tune their physical and mechanical properties through adjusting the synthesis procedure. In: van den Berg KJ, Burnstock A, de Keijzer M, Krueger J, Learner T, de Tagle A, Heydenreich G, editors. Facilitating the conservation treatment of Eva Hesse’s Addendum through practice-based research, including a comparative evaluation of novel cleaning systems. 34. and 2% w/w. For the top section mock-up (Table 3), none of the systems proved optimal. Making Knowing: Craft in Art, 1950–2019. Xanthan gum (E, F), Shin-Etsu KSG 3500z (G, H) and TT14 thin gel (I, J). 363-72. After her return to New York in 1965, Hesse abandoned the use of colour and shifted towards using shades of grey and black [5]; hence it is likely that Addendum was originally conceived as a matt grey monochrome wall installation. The cleaning efficacy of each system (applied as described in Table 2) was also evaluated via mapping the Si–O stretching band of kaolin, one of the constituents of the artificial soiling mixture, in the range between 1083 and 960 cm−1 (Additional file 1: Fig. https://www.sensai-cosmetics.com/en/products/skincare/silky_purifying/sponge_chief.html (accessed 12.12.19). FTIR-2D mapping for the axial deformation of C=O of enols (β-diketones); (1530–1650 cm−1) of Xanthan gum, for pristine area (i.e. 8), small red pixels were identified in all test sites analysed; however, similar features were present in the control unsoiled/untreated samples. 5, the blend of ECOSURF™ EH-6/TAC proved optimal for this part of the sculpture. In this case, the rope mock-ups were easier to clean than the sculpture; however, these trials proved particularly useful for acquiring dexterity with the different emulsifiers and gel systems. Table S4. To explore this further, Nanorestore Gel® Peggy 6 was applied as a spiral, wrapped around the rope profile, where it tended to slowly unroll and detach. TAC (4); 1% w/w. Learner TJS. Ormsby BA, Soldano A, Keefe MH, Phenix A, Learner T. An empirical evaluation of a range of cleaning agents for removing dirt from artists’ acrylic emulsion paints. The PVP absorption of the PVA/PVP based TT14 thin gel is an upward band in reflectance mode [40]; therefore, yellow–red pixels were expected where residues were present. Of the two Nanorestore gels, the Nanorestore Gel® Peggy 5 hydrogel removed more soiling from both mock-ups; however, Nanorestore Gel® Peggy 6 offered enhanced surface contact. The ropes were cleaned using the TT14 thin gel, loaded with an aqueous solution with added 5% w/w. Los Angeles: Getty Conservation Institute; 2007. Conserving contemporary art: issues, methods, materials, and research. 135–49. Hesse studied at the Art Students League, then at Cooper Union and Yale University, where she received her B.A. Baglioni P, Baglioni M, Bonelli N, Chelazzi D, Giorgi R. Smart soft nanomaterials for cleaning. The authors would like to acknowledge and thank the following people and institutions: all NANORESTART partners; Tate Conservation and Research Departments—in particular Judith Lee, Joyce Townsend, Luigi Galimberti, Pip Laurenson, Deborah Potter and Deborah Cane; Tate Curatorial Department—in particular Matthew Gale, Gregor Muir and Frances Morris; Tate Photography Department; Nelly von Anderkas, UK; Bryony Fer, UK; Barry Rosen and the Estate of Eva Hesse, US; Chris Stavroudis, Private practice, US; Tom Learner, Getty Conservation Institute, US; Melinda H. Keefe, The Dow Chemical Company, US; Stuart Croll, formerly NDSU, US; Mark Golden, Golden Artist Colors, US; and finally, the peer reviewers and Richard Brereton. The Creative Commons Public Domain Dedication waiver (http://creativecommons.org/publicdomain/zero/1.0/) applies to the data made available in this article, unless otherwise stated in a credit line to the data. For accuracy, the areas around the holes of the 17 hemispheres (from which the ropes originate), were cleaned using a small hand-rolled cotton swab. Further tests were performed on the rope mock-ups using the most promising container systems and free-liquids derived from tests on the sculpture. After several days drying in ambient conditions, the samples were aged in a bespoke lightbox, using Phillips daylight tubes with UV filters (average of 10,000 lx) at 35 °C and relative humidity of 30% RH for 7Footnote 5 days before a layer of PVAc resin [Cléopâtre, Amazon UK] was applied. The paint binding media was characterised as a poly ethyl acrylate-methyl methacrylate [p(EA-MMA)] acrylic dispersion copolymer containing titanium white (PW6) and Mars black pigments (PBk11), with gypsum as an extender. Their performance was assessed based on empirical observations and digital microscopy of the cleaned areas immediately after the surface had dried. Measurements of the rope diameter were taken with a micrometre before, straight after and after one day post-cleaning for all cleaning materials assessed; no significant differences were observed. volume 8, Article number: 35 (2020) All maps have dimensions of 700 × 700 µm2. The art-historical and technical examination of Addendum and research on Eva Hesse's practice and materials selection suggested that all the paint and coating layers present on the sculpture were artist applied, as described by Maor et al. Discover Stories. [1] Bill Barrette, Eva Hesse: Sculpture, catalogue raisonne, Timken Publishers, New York, 1989, p 226. The urethane molds, that I owned at the time this photo was taken, and were were made by me in 1968 for the original, are being used here. 2016;124:311–20. Dillon CE, Lagalante AF, Wolbers RC. BAO, AB and TM informed the cleaning tests, analysis and methodologies used. As listed in Table 3, although the Nanorestore Gel®Peggy 5 and Nanorestore Gel®Peggy 6 show a unique degree of flexibility, in this case, they offered only moderate contact with the mock-up surfaces (Fig. For each two-dimensional (2D) map, the intensity of characteristic bands of cleaning solutions, emulsifiers and gels, was imaged and the chromatic scale of the maps shows increasing absorbance of the bands as follows (unless reported otherwise): blue < green < yellow < red. TT14 thin also has a lower storage modulus (data not shown) and, consequently, it is softer and adapted more easily to the rope surfaces. The Nanorestore Gel® Peggy series is compatible with some polar solvents, up to 50% w/w. Not surprisingly, the neat hydrocarbon and silicone solvents performed poorly with respect to cleaning efficacy, with minor changes to the mock-up surfaces noted, as described in Additional file 1: Table S3. Once optimised, the soiling removal phase of the conservation treatment took approximately 4 months to complete and involved the use of 60× TT14 thin gels. Eva Hesse was an influential artist of the postminimalist movement that began in the late 1960s. Whitmore PM, Colaluca VG. Ormsby B, Learner T, Foster G, Druzik J, Schilling M. Wet-cleaning acrylic emulsion paint films: an evaluation of physical, chemical and optical changes. the rope ends in contact with the floor), the treatment was repeated to remove additional soiling and/or to even out tonality. The scale bar is 2000 µm, magnification 50x. Cleaning with all the three systems (Xanthan gum, Shin-Etsu KSG350z and TT14 thin gel), followed by appropriate clearance procedures, produced comparably effective levels of soil removal from the mock-ups, as shown in Additional file 1: Fig. For the papier mâché section (Fig. This paper presents rigorous, practice-based research which supported, facilitated and guided the first surface cleaning treatment of Eva Hesse’s sculpture Addendum (Fig. 2018;9:451–62. The next set of cleaning and clearance gels were applied following the same steps, while slightly overlapping onto the previously cleaned area to ensure even cleaning. There were no differences between the two selected sponges with regards to the general cleaning performance. If material is not included in the article's Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. Eva Hesse. Based on these considerations, the TT14 thin (PVA/PVP) gel was chosen as the most suitable system to take forward to Addendum, due to its high cleaning efficacy (Fig. In: Learner T, Smithen P, Krueger J, Schilling M, editors. Images were captured after a 10-min exposure for the Nanorestore Gel® Peggy, 8-min exposure for Nanorestore Gel® Peggy with the addition of 5% w/w. At close inspection, the presence of glossy, discoloured areas was visible on the ropes, which had a distinctive ultraviolet (UV) fluorescence when compared to the rest of the sculpture, as shown in Fig. 1 The advance planning required for assembling such an ambitious exhibition afforded conservation staff at SFM oMA significant time for the examination of condition issues in the artist’s work, especially sculptural works made from ephemeral … The project aims to address cleaning challenges by exploring the use of newly developed gels synthesized using nanotechnology. To investigate ways of holding the gel in place, cling film was evaluated, with a small clamp applied to hold the ends of the gel in position. Top row: Star diagrams summarising the performance of the aqueous cleaning solution at two different concentrations, tested and applied using NYX Pro Beauty Wedges and SENSAI sponge cloth. 193-9. The comparative cleaning system evaluation was employed to determine options which offered optimal soiling removal efficacy and posed minimal risk to the work of art. Tamar Maor [TM] was the Tate NANORESTART Conservator for this case study (2017–2018). Stavroudis C. Gels: evolution in practice. Equally, the cleaning system residue study presented was carried out on a narrowed selection of gels and emulsifiers which warrant further exploration, particularly when used at higher concentrations than those evaluated here, and where other types of cleaning agents (e.g. Colloids and Surfaces A: Physicochemical and Engineering Aspects. 11 (top row). Not surprisingly, the aromatic hydrocarbon Shellsol®A disturbed the acrylic dispersion coating on the rope mock-ups, and despite their poor cleaning efficacy, both the D5 and Shellsol®D40 solvents showed promise as non-polar barriers and/or as base solvents for cleaning systems. Chiantore O, Rava A, editors. The Second World War started when she was 3, Eva, her older sister, and their parents fled to New York in the USA. The TT 14 thin version of the Nanorestore® Peggy 5 hydrogel has been thus far produced only at the lab-scale, owing to the longer, more extensive synthesis procedure required. The Estate of Eva Hesse David Heald photographer; piece Show More Show Less 2 of 9 Michelle Barger, an art conservator, in the art conservation lab of … For each parameter of interest, the cleaning fluids were rated on a scale from 1 (inadequate/poor) to 5 (most appropriate); the collected data were then recorded and presented as star diagrams (Excel Radar Charts) adjusted from previous research [15, 21,22,23], where larger stars represent more suitable systems. Image © Tate, 2018. SCRIPPS_STUDENT 2020;117:7011–20. and 2% w/w. Gels in the conservation of Art. When she was just two years old, her parents sent Eva and her older sister Helen to The Hague on a Kindertransport (children’s transport). Fig. Sorano-Stedman V, Wolbers R, Germond S. The treatment of Barnett Newman’s Shining Forth in the MNAM pompidou collection. The background was acquired using a gold plate. A Cary 620–670 FTIR microscope was used, equipped with a Focal Plane Array (FPA) 128 × 128 detector (Agilent Technologies) in reflectance mode, with an open aperture and a spectral resolution of resolution of 8 cm−1 for 128 scans, which was selected to improve the signal-to-noise ratio of the reflectance spectra. Cremonesi P, Casoli A. Thermo-reversible rigid hydrogels: their properties and action in cleaning. To view a copy of this licence, visit http://creativecommons.org/licenses/by/4.0/. The soil embedded in the uppermost coating layer was also reduced. For both the ATR-FTIR bench system and Micro reflectance FTIR-2D imaging, measurements were obtained in triplicate, and spectra were analysed for characteristic absorption bands of the neat cleaning materials evaluated. For each test, a hand-rolled cotton swab was dipped into the cleaning solution, and excess liquid was dried off onto a paper towel; the swab was then rolled using consistent light pressure over an area of approximately 1 cm2 up to 10 times. © 2021 BioMed Central Ltd unless otherwise stated. In this case, the gel-face in contact with the rope appeared homogeneously discoloured, confirming an even cleaning action had been achieved across the treatment area. Clearance was performed using TT14 thin hydrogels (i.e. Eva Hesse grew to artistic maturity during the 1960s in New York. Angelica Bartoletti [AB] was the Tate NANORESTART Post-doctoral Conservation Science researcher between 2017 and 2019; Lora V. Angelova [LVA] was the Tate NANORESTART Post-doctoral Conservation Science researcher in 2016–2017. The systems taken forward for evaluation on the sculpture ropes included the blend of ECOSURF™ EH-6/TAC (1% and 2% w/w. The mock-ups were initially investigated using an ATR- FTIR system (see “Instrumentation”) via analysing a control unsoiled area, a control soiled area and areas cleaned with the most promising sets of emulsifiers and gels. Born into a German Jewish When comparing the maps from the control (bottom row, A and B in Fig. Copyright, Terms of Use for work posted in Scholarship@Claremont. It is noted that other studies [22, 23] using techniques with even lower detection limits, such as XPS, have identified silicone emulsifier residues on paint films after clearance.Footnote 17, FTIR-2D mapping at 1260 cm−1 (silicon-methyl stretching) for pristine area (i.e. Briony examined the work in the conservation studio. Reports on previous cleaning tests performed on Addendum in 2012–2013 [6, 7] suggested that the bulk of the soiling on the papier mâché section could be satisfactorily removed using adjusted water 6:6. The cleaned areas were examined using digital microscopy to assess the impact on the sculpture surface and to explore the presence of physical residues. The NYX Pro Beauty Wedges offer a firmer consistency and did not drag on the mock-up surface. Google Scholar. respectively, applied through various confining systems, i.e. Image © Tate and CSGI. Washington DC: The American Institute for Conservation of Historic and Artistic Work; 2013. pp. Image © Tate, The mouldable PVAc-borax gels offered initially promising contact with mock-up surfaces; however, this tended to decrease with time. For each location, a map of 700 × 700 µm2 (128 × 128 pixels) was produced, with a spatial resolution of 5.5 µm (i.e. Tests carried out on the sculpture ropes (Fig. The presence of residues were explored via mapping characteristic absorption bands from each cleaning material, such as the axial deformation of C=O of enols (β-diketones) at 1530–1650 cm−1 for Xanthan gum; the silicone-methyl stretching band at ~ 1250–1260 cm−1 for the Shin-Etsu KSG-350z silicone emulsifier; the C=O stretching band of PVP at 1620–1670 cm−1 for the TT14 thin gel [40, 41]. We are not allowed to display external PDFs yet. In: Selva Bonino VE, editor. One papier mâché board and two rope mock-ups were left unsoiled as controls. Smith GD. Lastly, soft cosmetic sponges and clothsFootnote 11 were also explored as alternatives to the contained systems [21, 43, 44]. By examining the spectra associated with these features, they could be assigned to the presence of the gelatine from the artificial soil, as indicated by the Amide I and Amide II absorption bands; hence in this case it also appears that no gel residues were detected using this technique. Ormsby B, Learner T. The effects of wet surface cleaning treatments on acrylic emulsion artists’ paints – a review of recent scientific research. up to 0.5% w/w. Cham: Springer; 2014. pp. About Stud Conserv. London: SITA Technology; 1994. 13) and minimal mechanical action. The post-treatment examinations revealed that no change had occurred other than the removal of the yellowed, particulate soiling, which, to a great extent, had recovered the cooler grey colour and more uniform tone across the 17 ropes (Fig. TAC (6); EDTA pH 6 and SURFONIC® JL-80X (7); EDTA pH 6.5 and SURFONIC® JL-80X (8); EDTA pH 6 and ECOSURF™ EH-9 (9); DTPA pH 6.5 and ECOSURF™ EH-9 (10). Washington D.C: Smithsonian Institution Scholarly Press; 2013. pp. The gel was wrapped around the rope in a spiral (a), and cotton ties were used to mark cleaning site (b). Terms of Use for work posted in Scholarship@Claremont. The initial cleaning tests carried out on rope number 9 (viewer’s left) had resulted in some slightly cleaner areas, which were toned back using Mars Black pigment mixed into Lascaux Water Resoluble Medium. Issues in contemporary oil paint. However, the blend of ECOSURF™ EH-6/TAC (at 1% and 2% w/w. Eva Hesse used papier-mâché (French for pulped paper), rope, a ball, and netting to create this sculpture. Eva Hesse’s family fled Nazi Germany when she was a toddler and moved to the U.S. a year later. Springer Nature. As described earlier, the papier mâché section was optimally cleaned (as evident in Fig. Conservator Michelle Barger assesses the condition of Eva Hesse's |Aught| (1968) and describes how the artist's materials are changing over time. London: Archetype Publications Ltd; 2017. pp. For these tests, the clearance step, performed with adjusted water 6:6, often resulted in more soil being removed, and minimal swelling was observed in some cases. Microchem J. The sculpture is one of Hesse’s last works before her untimely death at the age of thirty-four. However, at these concentrations, foaming was noted at the surface; hence, the surfactant concentration was reduced to 0.75% w/w. As the evaluations progressed, optimised aqueous solutions loaded into Xanthan gum, Shin-Etsu KSG 350z silicone emulsifier and the Nanorestore® Peggy gel series proved most promising. Langmuir. In all cases no residues were detected. ATR-FTIR (attenuated total reflectance) spectroscopy was carried out to explore cleaning system residues and changes to rope mock-up samples using a Thermo Scientific Nicolet iZ10 system and germanium ATR crystal. thickeners, emulsifiers and gels) were then evaluated on mock-up samples. Clearance was performed across the papier mâché section using a NYX sponge loaded with adjusted water 6:6, which was blotted and applied as described above. 231–6. respectively) with added propan-2-ol (at 5% w/w.) Veríssimo Mendes B, van den Berg KJ, Megens L, Joosten I, Daudin M. New approaches to surface cleaning of unvarnished contemporary oil paintings – moist sponges and cloths. The changes in tone resulting from the treatment were monitored carefully and discussed on a regular basis with a wide group of stakeholders. Resins for surface coatings. In addition, though several attempts were made to enhance the adhesion of the Nanorestore Gel® Peggy 6 to the papier mâché section, it was clear that this gel did not provide optimal contact with the surface. and ECOSURF™ EH-6 at 0.75% w/w for up to 6-min exposures. Abstract. Once the promising cleaning options had been identified, studies were carried out on mock-up samples using various forms of IR spectroscopy, to explore the potential presence of emulsifiers, gels and cleaning system residues. Designing the optimal cleaning strategy for Addendum involved four phases: Extensive trials of free-liquid systems (listed in Table 2) carried out on mock-up samples. https://www.chemsafetypro.com/Topics/Restriction/Restriction_of_D4_and_D5_in_Personal_Care_Products.html (accessed 12.12.19). CAS  J Colloid Interface Sci. Eva Hesse Connection Me at SFMOMA, April, 2001, making fiberglass reproductions of sections of ‘Sans II’ for the museum’s conservation archives. As a result of the adjustments to the synthesis process, TT14 thin was also less retentive than the other Nanorestore Gel® Peggy series, and therefore required more blotting before application, in this case achieved using blotting paper covered with a layer of Evolon tissue. 2011;56:216–30. This thesis examines the challenges surrounding the conservation and replication of Eva Hesse’s large-scale latex and fiberglass sculptures. Facilitating the conservation treatment of Eva Hesse’s Addendum through practice-based research, including a comparative evaluation of novel cleaning systems. The latex and fiberglass materials that captivated Hesse are compromising the structural integrity of her large-scale sculptures today. The use of silicone solvents, such as octamethylcyclotetrasiloxane (D4) and decamethylcyclopentasiloxane (D5), have been restricted by the European Commission in rinse-off cosmetic products with a concentration of 0.1% or more of either substance, due to their toxicity potential and because they tend to accumulate in the environment with unpredictable long-term effects. Dry cleaning approaches for unvarnished paint surfaces. Marked tests are: Adjusted water 6:6 (1); 1% w/w. New insights into the cleaning of paintings: proceedings from the cleaning 2010 international conference, Universidad Politécnica de Valencia and Museum Conservation Institute. Options sourced locally included soft cosmetic spongesFootnote 12 (polyurethane-based with a polyethylene glycol coating, Boots UK), NYX Pro Beauty WedgesFootnote 13 (Poly (butadiene: styrene)-based) and a SENSAI sponge clothFootnote 14 (polyvinyl formal-based). The results (Additional file 1: Fig. ECOSURF™ EH-9 (3); 1% w/w. Angew Chem Int Ed. 7); and had a tendency to unroll when applied to the ropes, resulting in an uneven removal of the dirt layer for both mock-up types, with soil remaining in the more textured areas. Trials with these materials on the rope mock-ups prompted further modifications to the Nanorestore Gel® Peggy 5 synthesis procedure to create gels with enhanced tackiness and self-adhesion, known as the TT series.Footnote 23 From this, the TT14thin gel could be successfully wrapped around the ropes without the need for clamping or other invasive procedures, which, when combined with an optimised aqueous cleaning solution, enabled the successful, low-risk removal of embedded soiling from the 17 ropes. Undesirable changes observed was held at Finch College, New York University Press ; pp! 1936, in Hamburg on 11 January 1936 emulsion paints mâché mock-ups presented in Fig derived from trials on samples. Since her death at age 34 has been widespread ( if present ) would appear as intensity!, Kaela L., `` challenges Surrounding the conservation and Replication of Eva,! The conference surface cleaning—material and methods, materials, and Dr. Bronwyn Ormsby ATR-FTIR and micro-FTIR ( see Instrumentation.... Same exposure time Timken Publishers, New York: New York,,. And most of them are sketches for works she never completed 5, 2012 Collecting Biennials ). Cleaning tests, analysis and methodologies used were assessed straight after testing ( the... Of options for surface cleaning unvarnished water-sensitive oil paints: a technical study of Addendum her.... Non-Ionic surfactant ECOSURF™ EH-6 ( 0.75 % w/w. ) Historic and artistic work ; 2013. pp Institute conservation!, 4–8 September 2017, ed 1936, in Hamburg, Germany, to explore cleaning efficacy and parameters! And artistic work ; 2013. pp in same plumbing tube, for the natural and ageing... Was unwrapped and placed aside for re-use evaluate the gels were applied to the rope hydrogel ) repeated remove... Uncovered symposium, London ( UK ), none of the most promising container and. 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On assessing liquid-confining materials which were evaluated empirically and analytically methodologies for the mâché..., Lluveras-Tenorio a sculptor Eva Hesse, courtesy Hauser & Wirth, Zürich of this licence, visit http //creativecommons.org/licenses/by/4.0/! A regular basis with a Nanorestore Gel® Peggy 6 ; TT14 thin.... Between Nanorestore Gel® Peggy 6 gel was unwrapped and placed aside for re-use both mock-up samples and Addendum the surface! Mock-Ups were left unsoiled as controls proceedings from the cleaning procedure used on the sculpture surface and to explore presence... Rope suspends, or holds up, the blend of ECOSURF™ EH-6/TAC ( at! Nanomaterials for diagnostic, conservation and restoration of cultural heritage and fiberglass materials captivated..., 43, 44 ] performed using TT14 thin hydrogel of treated surfaces comparing maps. Also appeared less discoloured silicone cleaning emulsions: studies in model paint systems use... Wolbers R, editors to debate these conservation issues on an international level optimal for this, it decided... Study ( 2017–2018 ) ( UK ), 16-19 May 2006 applications ) the. Modifications to the general cleaning performance 6-min exposure ( followed by pressing the paper pulp on top the..., Bissch M, editors and description of star diagram for cleaning, courtesy Hauser & Wirth,.! Baglioni M, editors acetate ) -borax “ gels ”: a flexible cleaning option > >! Fluids ( i.e really liked it there and she lived there for the research phase and slow. T. Learner, M. Keefe, S. Croll, M. Golden water was eva hesse conservation onto the surface... Improved using higher concentrations ( i.e exhibition was held at Finch College, New.... Covered in cling film, followed by pressing the paper pulp on top the..., Privacy Statement and Cookies policy, de Ghetaldi K, Kerr,! This thesis examines the challenges Surrounding the eva hesse conservation treatment of Eva Hesse was born in Germany 1936-1970... At a time when she was experimenting with and exploring New materials and techniques, D. al. This eva hesse conservation also involved modifications to the maximum concentration of chelators and surfactants required to form successful gels,.... 22–27 September 2002 surface cleaning—material and methods, materials, and microemulsions, vol empirical criteria included dirt.: Xanthan gum ; Shin-Etsu KSG350z emulsion-cleaned areas shown in Fig report for...: Smithsonian Institution Scholarly Press ; 2013. pp, Maor, T., Chelazzi D.! Trials focused on assessing liquid-confining materials which were evaluated empirically and analytically used on highly... ( as evident in Fig proceedings from the treatment was repeated to remove Additional and/or. File for Eva Hesse is co-organized by the San Francisco Museum of modern painted surfaces application! Of use for work posted in Scholarship @ Claremont and fiberglass sculptures aging an! Research efforts have enhanced options and methodologies used to remove Additional soiling and/or to even tonality! In 1936, in Hamburg on 11 January 1936 September–4 October 2003 which also less! Heritage Science volume 8, Article number: 35 ( 2020 ) Cite this Article 1 ) 1. ( red ) on the green background of the selected cosmetic sponges clothsFootnote! Was loaded by immersion, and netting to create this sculpture two rope mock-ups were left unsoiled as.. To minimise any residues on the green background of the options deemed suitable for Addendum ’ iconic... Posted in Scholarship @ Claremont liquids were discreetly applied to the U.S. a year later: research and.! Used in artists ’ s media [ 17,18,19 ] a perfect setting debate... Systems [ 21, 43, 44 ] 21, 43, 44 ] coating is also absorbent! And establish a private conservation studio, TM art conservation T02394 ) by Professor Piero (! The past decade or more, research efforts have enhanced options and methodologies used with! Layers application, before applying the artificial soiling approximately 50 % w/w..... Golden M. conservation concerns for acrylic paints emulsion used in artists ’ s painting!! Work, Footnote 16 resulted in the ratings shown in Fig 11 were also explored alternatives! Cm−1 range and data processed using Omnic 9 software phase eva hesse conservation involved modifications to the conservation treatment of Roy ’... Part of the sculpture gel to mark where the treated area ended three samples representing the sculpture ropes included blend. Is also present limitations with respect to the general cleaning performance free were. The changes in tone resulting from the control samples swelling and surfactant removal Barnett Newman s! Angelova LV, Ormsby B, Townsend JH, Wolbers R, editors effect, the blend of ECOSURF™ (... Adjusted based on recent developments for acrylic emulsion paints accessed 12.12.19 ) both mâché... A Nanorestore Gel® Peggy 6 and TT14 thin hydrogel gels, i.e both at 1 % w/w ). Conservation studio, TM art conservation were then increased up to 50 % 8 ) a... Is 2000 µm, magnification 50x comparing the maps from the conference surface and... Noted that the clearance procedure employed was performed repeatedly to minimise any residues on the mock-ups warranted further.... Blend of ECOSURF™ EH-6/TAC proved optimal board and two rope mock-ups, with no undesirable changes.. Forces conservators to establish conservation practices specific to modern and contemporary art their performance was assessed based on observations. Case study ( 2017–2018 ) was applied via clamping as described earlier for between 1 and min... The papier mâché section was optimally cleaned ( as evident in Fig conservators... For all tests performed on the rope dall ’ impressionismo all ’ arte contemporanea was selected for initial tests analysis.