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A Conservation Conundrum Ephemeral Art at the National Museum of African Art

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A Conservation Conundrum Ephemeral Art at the National Museum of African Art A Conservation Conundrum Ephemeral Art at the National Museum of African Art Stephanie E. Hornbeck he permanent collection of the Smithsonian’s National Museum of African Art includes both tradition-based and contemporary objects, which sometimes employ fugitive materials or media AGENTS OF DETERIORATION that render them ephemeral. Among these exists a smaller grouping of objects which are ephemeral visible and ultraviolet (UV) light by design. To comprehensively fulfill its mandate to collect and Light catalyze reactions, often resulting Tpreserve the visual arts of Africa, the National Museum of African in fading and/or discoloration Art (hereafter the Museum) began acquiring contemporary works in the 1990s, while continuing to collect tradition-based art. Since influences the rate of chemical 1997, a large gallery has been devoted to contemporary African art, Temperature reactions, can cause hardening or in which rotating exhibitions are always on view. desiccation, leading to physical Ephemeral materials pose challenges on conceptual and practi- damage cal levels to the conservators faced with their display, treatment, and preservation. Indeed, the concept of ephemeral-by-design causes moisture absorption and stands in direct opposition to the major tenet of conservation: the Humidity acid hydrolysis; facilitates biolog- preservation of cultural patrimony for future generations. Con- ical attack sequently, conservators sometimes effect a compromise between the objectives of preservation and artistic intent, thereby aim- catalyzes reactions, which may ing to prolong the life span of a transient work. The conservation Oxygen form unstable free radicals that challenges inherent to ephemeral art have been addressed by a can alter the molecular structure number of conservation conferences and attendant publications. These include “Saving the 20th Century” in Ottawa in 1991; “Mod- ern Art Who Cares?” in Amsterdam in 1999 (a sequel conference Table 1 The primary variables that can catalyze or accelerate chemical reac- is planned for 2010); “Mortality/Immortality” in Los Angeles in tions leading to the deterioration of artifacts (primarily organic materials). These agents affect both chemical and physical properties of materials. When two or 1999; and most recently “Modern Art: New Museums” in Bilbao more agents combine, a synergistic effect results in even greater degradation. in 2004. A number of collaborations among conservators special- izing in contemporary art have arisen, perhaps most notably in (opposite counterclockwise from top) 1 This graphic image hypothesizes the way a fragile collage may deteriorate Britain, the Netherlands, and North America (see Hummelen and over time. The image at left shows how the work (The Muse 3 [1994] by Garth Scholte 2004 and http://www.MattersinMediaArt.com). Perhaps Erasmus) looks at the present while the one on the right postulates the effects the largest collaborative network is the International Network for of agents of deterioration. PHOTO: FRANKO KHOURY NATIONAL MUSEUM OF AFRICAN ART, SMITHSONIAN INSTITUTION the Conservation of Contemporary Art (INCCA), founded in GRAPHIC DESIGN: LISA VANN, NATIONAL MUSEUM OF AFRICAN ART, SMITHSONIAN INSTITUTION. 1999 by the Netherlands Institute for Cultural Heritage and the Tate Museum in London. INCCA is a network of interdisciplin- 2 Bowl with figures Olowe of Ise (ca. 1875–ca. 1938). Yoruba peoples, Nigeria, c. 1925 ary professionals dedicated to the conservation of modern and Wood, pigment; 63.7cm x 33.8cm x 39 cm (25” x 13½” x 15½”) contemporary art, and it has grown to include “250 members … Bequest of William A. McCarty-Cooper. 95-10-1 from over 150 organizations in 30 countries” (http://www.incca. PHOTO: FRANKO KHOURY NATIONAL MUSEUM OF AFRICAN ART, SMITHSONIAN INSTITUTION Note darkened coating. org). One of the most useful contributions of INCCA to the field is its literature database of over 2000 records related to the conserva- 3 Bowl with figures Olowe of Ise (ca. 1875–ca. 1938) Yoruba peoples, Nigeria, early 20th century tion of contemporary and modern art. Wood, paint; 53.8cm x 25cm x 35cm (21¼” x 9¾” x 13¾”) Thus, issues of unpredictability, permanence, and deteriora- Gift of Walt Disney World Co., a subsidiary of The Walt Disney Company. 2005-6-34 tion processes particular to ephemeral materials, as well as par- PHOTO: FRANKO KHOURY, NATIONAL MUSEUM OF AFRICAN ART, SMITHSONIAN INSTITUTION 52 | african arts AUTUMN 2009 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/afar.2009.42.3.52 by guest on 27 September 2021 af_52-61.indd 52 5/20/2009 7:41:01 PM ticular legal and ethical conservation considerations, have been agents of deterioration are multiplied, such as when an object is widely discussed by conservators. Many issues come into play; exposed to both elevated temperature and light, the agents of dete- in her discussion of the topic, Christiane Berndes presents a rioration can combine synergistically to accelerate chemical reac- diagram of a circle with spokes labeled “artist’s opinion,” “resto- tions resulting in faster deterioration (Fig. 1). Composite objects ration ethics,” “historicity,” “authenticity,” “functionality,” “rela- can have materials that act as agents of deterioration, which have tive importance,” “technical limitations and possibilities,” “legal an antagonistic effect that accelerates damage on other materi- aspects,” “aesthetic and artistic factors,” and “financial limita- als. Interventive methods to slow down the deterioration process tions and possibilities” (Berndes 1999:170). Indeed, the subject involve environmental measures—such as refrigeration, dark stor- can seem daunting for the professionals involved. Drawing on a age, and anoxic micro-environments—that are not readily appli- number of case studies, this paper aims to present an overview cable to whole categories of artifacts, especially those comprised of of the key conservation issues and challenges that ephemeral composite materials. media have presented at the Museum. A primary reason that contemporary materials are so problem- atic for conservators is the lack of understanding about how new E PHEMERAL MATERIALS: DEFINITION AND EXAMPLES OF materials will behave over time, as often no precedents guide us. DETERIORATION Advances in organic chemistry over the past two centuries have Ephemeral objects are often fabricated of fugitive media, a dramatically increased the materials available to artists. In the category comprising materials that in a relatively short period of time—within decades—undergo chemical or physical changes which permanently alter them. Conservators refer to such changes as “inherent vice,” a phrase which describes the permanent, deleterious alteration inherent to some materials. Both inorganic and organic materials undergo chemi- cal and consequent physical changes from exposure to agents of deterioration—light, temperature, humidity, and oxygen (Table 1). However, the crystalline chemical struc- tures of inorganic materials renders them much more stable whereas the polymeric structure of organic materials, consisting of long chains of bonded chemical com- pounds, renders them more susceptible to changes due to alterations which their chemical structures can undergo. When AUTUMN 2009 african arts | 53 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/afar.2009.42.3.52 by guest on 27 September 2021 af_52-61.indd 53 5/20/2009 7:41:10 PM 4a Magdalene Anyango N. Odundo (b. 1950, Kenya) Vessel Untitled I (1994) Ceramic; 47.5cm x 42.8cm x 42.8cm (18¾" x 16" x 16") Museum purchase. 95-8-1 PHO TO: FRANKO KHOURY NATIONAL MUSEUM OF AFRICAN ART, SMITHSONIAN INSTITUTION 4b–c Details of damage from lime-popping, 12X magnification (l) and 64X magnification (r). PHO TO: STEPHANIE HORNBECK, CONSERVATION ARCHIVES, NATIONAL MUSEUM OF AFRICAN ART, SMITHSONIAN INSTITUTION nineteenth century these advances exponentially increased the Roslyn Walker noted that the dark coating of this object is unusual colors available to artists via new synthetic pigments and dyes, for Olowe’s sculptures, notably as compared to a similar bowl, many of which are impermanent. Similarly, in the twentieth cen- thought to be earlier in date (Fig. 3). Conservators sampled it and tury, advances in polymer chemistry have produced the broad submitted it to analysis. If the coating were characterized as a syn- category known as plastics. Both tradition-based and contem- thetic material, it would have provided clear rationale for removal, porary African objects incorporate plastic materials. Categories as most synthetic coatings were not used as early as 1925. However, of plastics run the gamut from stable to unstable, and their long- analysis by Fourier Transform Infrared Spectroscopy1 revealed that term behavior is unpredictable. Research and technical studies the coating is a natural substance—a gum-carbohydrate mixture. undertaken by conservation scientists into the characteristics of While it could have been applied post-collection, it could also have different plastics have yielded much useful information for the been applied by Olowe. In the latter case, it is also possible that the conservator regarding storage and treatment of these materials. coating was clear when it was applied and darkened over time, thus However, we still rely on observations from real-time aging to changing the appearance in an undesirable way. However, as Olowe understand the actual behavior of materials; this is the one criti- died in 1938, these questions
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