Defining the Acrylic Patina

JUST PAINTPublished by Golden Artist Colors, Inc. / Issue 23

GOLDEN Turns 30! Defining the Acrylic Patina This past June Golden Artist Colors celebrated our 30th anniversary. I am Some develop encrustations, ruptures, still in disbelief at how quickly the time pits, stains, wrinkles, and organic has gone by. Thirty short years ago I growth. Change can take multiple agreed to join my parents and wife in forms and in conflicting directions in a new venture in the cow barn on their the same material. little farm in Upstate, NY. Though Many of these changes we describe as quite a departure from my original career path, it’s been an incredibly the ‘patina’ of the object. These signs of rewarding journey – an opportunity age are due to changes shaped by wear, to collaborate with some of the most exposure to the elements and internal talented and creative minds in the changes of the materials themselves. world. It’s a thrilling experience every Some which are earned over a work’s time I see an artist using our materials. historic record, and some that are For as many studios as I’ve visited, created to give an object some instant artists continue to open my eyes to age, character and/or unique aesthetic other ways of seeing and creating new appearance. Fans of PBS’s ‘Antiques expression in paint. Accelerated exposures may anticipate the changes as the acrylic polymer ages. Roadshow’, have been thoroughly This business has also created all sorts warned not to touch the original of new discoveries and opportunities. By Mark Golden finish no matter how deteriorated or Growing up, I didn’t have any thoughts blemished rather than turn a priceless of becoming a business man. I wanted The acrylic medium for artists has th treasure into scrap. to do something creative with my now passed its 60 year since the life. Thankfully, I met quite a few first artists experimented and created Patina does not refer to all changes in other incredibly talented business with Bocour’s Magna®. I have been an art object. Most objects conservators, leaders who also had no desire to be imagining and conjecturing with others historians and artists worldwide use in business and thereby created a new for some time now what these materials the term patina much more broadly way of constructing and thinking about might look like one hundred, five to define a very wide range of changes business. I believe that this effort to hundred or a thousand years from now. in many objects and works of art. But strive to become a socially responsible A significant body of evidence is being clearly its definition is limited to the business has made all the difference for accumulated by colleagues in the field very top visual surface of the object me personally, but I also hope for our staff, our neighbors and our customers of conservation science and by our own or painting. It does not refer to other as well. research to begin to predict what these changes that are more internal to changes might be over time. Through the work of art. Typically we are just It’s a momentous time in the processes of both accelerated exposures talking about no more than a couple of company’s history and in this 23rd and real life exposures, we can develop millimeters of the surface. IT IS issue of Just Paint, we’ve captured some of our most recent milestones as well a picture of these changes of the various the surface we see. as sharing in our featured article our acrylic surfaces, mediums and colors. We tend to use the term “patina” continual effort to push the boundaries Although at GOLDEN, our to describe any wear or change in a of modern paint technology. The philosophy and personal metaphor material that gives it a sense of age… achievement of these goals thus far has around working in the acrylic media and the older it looks, the greater not been the work of just a few solitary has been to achieve a material with significance or importance we infer individuals, but attainable only with the support of all of you, the entire the clarity of glass and the resistance upon the work. This badge of age has artist community and of course all our of stone. Realistically, not even these been assigned by many authorities employee owners. We are so grateful for materials are left unscathed by the to materials including all the metals, your continued support. Thank you. passing of time. Some may harden, marble, stone, glass, fresco, wood, soften, some stretch and ooze and leather, tapestry and paintings. By our Best, others crack, some flake and others dust very association of the word patina to Mark away; some colors may fade to white an art or historical object, the object is and others darken to brown. inflected with an aura giving it greater Issue 23 page 1 ©2010 Golden Artist Colors, Inc. has been and continues to be a hotly we are only concerned when an old contested issue in conservation1, 2. painting doesn’t match our expectation Finally, at what point do these changes of how an old painting should look. compromise the work aesthetically and How Will My Acrylics Age? it simply becomes an historical artifact of an artist’s work? The question we are left to examine is: What is our expectation of our In the book, “The Future of modern painting materials? Do we Nostalgia”, Svetlana Boym, discusses assume that they will have no change the very controversial cleaning of 3 over time? That our acrylic paintings Michelangelo’s Sistine Chapel . will become a frozen representation of Sharing the arguments of bringing this our contemporary legacy? work back to its more vivid original colors, taking off years of grime, candle What I hope to examine within the soot, and areas retouched by past remainder of this piece is the evidence restorers “attempting to extinguish of change, as well as constancy of these the myth of the dark romantic genius materials. To investigate the potential Blotchy matte appearance the result of matte glassine in agony and ecstasy”… She asks future with the typical use of these paper packing against the paint surface. this final question of us. “What is materials as well as the potential for change with the expanding range of substance, seriousness and interest. more authentic; the original image experimental techniques that these This aged visual appearance influences of Michelangelo preserved (as it was) new materials have allowed. By our understanding and appreciation through time, or a historical image understanding these changes, artists of the object well beyond any actual that aged through centuries? What if will be able to anticipate the visual color, pattern or surface change. Michelangelo rejected the temptation of eternal youth and reveled in the movement of these materials as they We have created within art, design wrinkles of time?” age, and to work with these changes and fashion entire industries in the to be able to assure that the work production of instant age. Creating It is not simply because of the viewed during the passage of time will patinas is a serious business. Artisans enlightened discoveries of modern be able to both retain that original have been distressing and beating conservation that we know that paints intent imparted to the work when it up their furniture, even adding will change over time. It is clear was created as well as the history of worm tracks to pieces. An entire that artists throughout the history the piece. It will also present some field of metallurgy has been created of painting knew of the changes opportunities for artists to consider the to investigate how to create unique associated with their materials. They mitigation or at least the slowing down surfaces on metal. Artists have been understood that their linseed oil would of some of these expected changes. adding materials to paint to cause yellow with time and become more No matter how durable and cracking or flaking as well as tinting transparent. They understood that lightfast these materials may be, varnishes or mediums to give a their resins would become even more they will change. There are so many “gold tone” to the surface. Even our amber and certainly understood that environmental, chemical and physical clothes have been bleached out, made the oils would embrittle and potentially initiators of change that it is truly threadbare and torn, to give a greater develop cracks in the work. When Sir remarkable when we are able to sense of character to our style. Just this Joshua Reynolds (1723-1792) was observe any object of art or antiquity past year, several politicians have been confronted with his own poor painting that exhibits only minor changes charged with dying their hair gray to construction, he is said to have shared, 4 to its visible surface. These forces give them some greater gravitas. “All good pictures crack” . Artists also struggled with the permanency or lack include light exposure (especially In the world of paintings and object thereof of the various colorants used from ultraviolet sources), extremes of conservation there has been much and often concocted within their own temperature and humidity, internal debate over assessing how much studio or by their favorite alchemist or chemical cross linking or crystallization cleaning and removal of corrosion pharmacist. Eventually that task would of materials, incompatible materials product is appropriate. Does the be accomplished by the new breed of within the same work, man-made removal of the surface destroy a sense of colormen of the late 17th and and environmental disasters, molds, the history of the object? Is one actually 18th centuries. mildews, insects and rodents, cleaning off its marks of distinction or mechanical changes such as creep or a unique symmetry of balanced changes Our view of the history of art is migration, storing, crating and shipping developed over time? At what point through a lens of a continually shifting work, cleaning artwork and the various is a work of art so obscured by the surface. We only have examples of solvents and chemicals they might accumulation of dust, grime, soot or works of art that have to some lesser be exposed to as well as the effects of internal discoloration or distortion of or greater degree, changed over time. pollution, to name just a few. the surface, that it no longer represents We have accepted, and in many cases Given the durability, the flexibility, the artist’s intentions? Even that ethic of embraced those changes in traditional the general lightfastness of the acrylic restoring the artist’s original intentions materials. Reframing this concept; Issue 23 page 2 ©2010 Golden Artist Colors, Inc. specifically in comparison to other color change and opacifying relative to media, one would expect little change the thickness of application. in the color or surface of the paint film. Yet these acrylic paint surfaces will change, and in ways different from other traditional media. Due to the relatively recent invention of the acrylic as an artist’s medium, we have only a few examples of naturally aged films where we know exactly the constituents and exposure of the materials. Few studies have yet to be conducted in our museums surveying comparatively works produced in acrylic versus other media. In Stringari Glass plate placed in north and west facing windows at Buffalo and Pratt’s research examining the State College photographed after 17 years of exposure. acrylic media, they only briefly mention © 2010, James Hamm, Buffalo State College the acrylic paintings in the collection at Most early acrylics made in the U.S. MOMA “…overall, they are in quite throughout the mid 1950’s through the good condition, unless they have been mid 1990’s contained a common resin mishandled or subjected to extreme combining ethyl acrylate and methyl- environments”5. For most of our and methacrylate. others testing, we have to depend upon Manufacturers of the acrylic Raw acrylic polymers. Left row heat aged for 400 hours accelerated aging of samples. Samples resins define their thin films as quite at 140˚ F. are typically exposed to conditions that clear, almost colorless. Working in either raise temperature or increase the impression of an impermeable film. collaboration with the technical team at Some have claimed that the acrylic is intensity of the light, especially the UV Rohm & Haas® (now Dow®), we have radiation over some period of time to a ‘closed system’. This would not be been able to share how these materials accurate. The acrylics are extremely try to induce the change that might are often used by artists and the need be anticipated with natural aging. porous, a condition that is exacerbated for cleaner and clearer raw acrylic as by the addition of pigments and the Although this is admittedly less than a starting point. In 2001 we began a perfect for a firm understanding of additives required to make a stable process to construct our own acrylic paint. The advantage of this porosity the changes we can expect, it is the polymer in an effort to gain a greater best we have. is that it can improve the adhesion of understanding of how to mitigate our subsequent layers as well as oil paints Acrylic’s Extraordinary Flexibility concerns with the dispersion polymers 7 that tend to have an even smaller The changes that will be most typical currently available . molecular structure and are able of acrylics early on as they age will to penetrate the acrylic film. The not be a surprise to any artist who has disadvantage is that one needs to be worked with the medium. The acrylics careful of the environment of a non- provide extraordinary flexibility and varnished acrylic painting. Pollutants resistance to cracking (other than in such as soot, smoke and general near freezing conditions). Eric Hagen grime can penetrate with vapor into examining 27-year-old samples of the acrylic film. The porous acrylic acrylic films produced by Marion film is also subject to damage from Mecklenberg, was able to demonstrate well intentioned cleaning efforts. that these films will continue to have Oily deposits from handling acrylic the flexibility similar to relatively fresh, paintings, especially those paintings one-year-old films6. This advantage of flexibility also has its downside: the surface is more vulnerable to marring, dirt pick up and sticking to The raw resin AC234 in a thick pour in 1987, other surfaces. photographed in 2010. The crazed appearance is typical of shrinkage during initial drying. As part of our collaborative research project with Buffalo State College in 1992, samples of acrylic gel mediums Acrylic, a Porous Binder were applied to glass and then exposed The less apparent concern with the to natural aging in north and west facing acrylic medium is its extreme porosity. Fingerprints not visible when produced, over time become noticeable as oils from hand eventually discolor windows. We can see the degree of The smooth glossy surfaces give the a colored ground.

Issue 23 page 3 ©2010 Golden Artist Colors, Inc. with a very matte surface, are very complexity of formulation that can In evaluations by Tom Learner while difficult to remove and tend to also lead to change in the acrylic medium, at the Tate, he was able to demonstrate darken with time. this material still remains the most the color changes in various white Changes Caused by Additives stable system for artist use. In research formulations both within acrylic, oil by Paul Whitmore in 1995 he was and alkyds9. We can see in the graph To manufacture acrylic artist paint able to show that the acrylic polymer below that all of the acrylic samples requires a significant number of showed remarkable photochemical evaluated formulating additives. Many of these stability specifically when exposed exhibited the This 18-year-old naturally aged sample of acrylic gel additives, which are required to make a to doses of near ultraviolet light that smallest degree medium on canvas over stable and workable paint, are volatile would take 5,000 years in a controlled of change in gesso was prepared in 1992. and evaporate, leaving the dried acrylic 8 The thinnest sections retain museum environment to accumulate . thermally aged significant clarity. film. The additives that remain in the The research also showed that under samples up to 600 film are subject to the same forces of conditions more equivalent to outdoor hours. The higher change that attack the acrylic polymer exposure, the acrylic polymer aged on the vertical themselves. Few of these additives much more rapidly. This is particularly scale, the greater have the same physical and chemical relevant to outdoor murals. the degree of resistance that the acrylic itself has. In research conducted by our Lab, yellowing of the Many of these sample. Again, additives are acrylic films of similar wet weight were poured, and allowed to thoroughly dry. remember that responsible for using heat to the changes in They were then subjected to heat aging at 140˚ F for 400 hours. We can see the accelerate what the film as it will occur in real ages. It is the degree of color change in the heated gel samples compared to the controls. time is only a responsibility potential indicator of the To be able to understand the changes of change, not the manufacturing in these thick acrylic films in context, it degree, severity or process to keep is necessary to share some control data time scale can be these required of other work looking at acrylic and implied. additives to a other traditional artist media. In thin minimum and films the acrylics show very little color. Evaluating to evaluate Compared to traditional materials the Change in Gel each additive acrylics are almost transparent. Mediums for its potential Specifically contribution to for evaluating any changes in purposes of the the dried acrylic. acrylic we are These examining films additives include above 1/8 inch the defoamers thick. These thick (typically mineral films exacerbate oils), wetting the visual changes agents (ionic that would otherwise be too subtle to be visible, especially in reproductions. salts), surfactants Three-thousandths of an inch oil paint film on left. (bridge On right, one-eighth inch acrylic film. continued on page 13 chemicals between the 14 Linseed Oil Lead White Naturally aged samples of water and non- 12 Linseed Oil Titanium White (1) acrylic resins poured in 1992, Linseed Oil Titanium White (2) including on the bottom a water phase of pour of ethyl acrylate/methyl the dispersion), 10 methacrylate polymer and thickeners two samples of butyl acralate/ 8 Alkyd Titanium White methyl methacrylate polymers. (acrylic acids, Safflower Oil Titanium White (1) Water Miscible Oil Titanium White cellulose delta b* 6 Safflower Oil Titanium White (2) thickeners, urethanes) and preservatives. 4 The hundreds of variations of these Casein Titanium White materials cause a range of changes in 2 PVA Titanium White Styrene-Acrylic Titanium White the final product, with potential for Gouache Titanium White 0 Acrylic Titanium White (1) yellowing, greening, fogging, opacifying 0 200 400 600 Acrylic Titanium White (2) and leaching. Time (hours) Despite all these conditions and the The higher trend lines represent the greater yellowing tendency of oil and alkyd white paints compared to formulated acrylic white paints when exposed to heat accelerated aging. Issue 23 page 4 ©2010 Golden Artist Colors, Inc. Conservation Analytical Labs of the Smithsonian a year earlier took an entirely different approach to the study of these materials by analyzing the mechanical dynamics in the acrylic media. The only other group studying the acrylic medium in context of developing new quality standards for all artist materials was the ASTM Subcommittee D-01.57 on Artists’ Paints and Related Materials. Within the development of these standards emerged an understanding of the contribution of pigments to the durability of the acrylic medium. One of the most important contributors to this work was Henry Levison, a Pictured left to right: Dr. Greg Smith and Jim Hayes collaborate on research that was conducted for the Modern Paints pioneer chemist in the acrylic media Uncovered Symposium at Tate Modern in London. for artists and inventor of Liquitex®. His initial research shared with some and anecdotal. Few treatises on the enthusiasm, the reduction of yellowing Following the materials were available. Margaret especially compared to traditional 2 Watherston’s “The Cleaning of Color oil paints . Levison was one of the Research on the Field Paintings’1 was one of the first early contributors to the work of the published conservation treatment ASTM subcommittee. This work Acrylic Medium studies suggesting some signs that had begun in the late 1970’s and we these acrylic paintings might not be so joined this group in 1981. A good By Mark Golden indestructible. Yet, Watherston’s work deal of our Subcommittee’s work has It is hard to believe that when took more issues with underbound been the development of standards acrylic paints and unprotected canvas for lightfastness of pigments as well as Golden Artist Colors made its debut 3 in 1980 no brand of acrylic had more than any true indictment of the acrylic accurately labeling paints for artists . than one gel medium, one polymer paints themselves. To truly understand We had attended our first joint medium, one matte medium and how these materials will stand up over meeting at the National Gallery a molding (or modeling) paste. It time has required a concerted effort of hosted by the Smithsonian staff of the was from the needs of artists that material scientists and manufacturers Conservation Analytical Lab in 19914. GOLDEN Acrylics’ list of mediums working together to provide the The relationships we began with the expanded to over 46 products and support for our observations and to conservation community allowed us countless custom mediums. This sustain or refute common assumptions a much greater understanding of the explosion of new mediums and color as to how these materials perform. sort of challenges these materials might possibilities came as a response to Prior to this past decade, very face. We had published our first paper meeting artist needs to discover an little research, yet much conjecture in collaboration with James Hamm of exciting unexplored future with what composed our body of knowledge as Buffalo State looking at the yellowing was still a relatively new artist medium. to how these new acrylics would fair. of acrylic films in relationship to the 5 Acrylic emerged from a product The earliest pioneer in this new artist grounds on which they were applied . that was considered of secondary binder was Dr. Robert L. Feller. As a Since this time we have published importance within the arts community restoration chemist at Carnegie-Mellon separately or jointly seven papers, to one that is now considered at least Institute in Pittsburgh, he searched for delivered over a dozen symposia on the equivalent to any other art media. an improved paintings varnish. With the conservation of acrylic materials But as these new acrylics offered new his groundbreaking work studying and supported many other research possibilities, artists demanded even acrylics for conservation in the 1950’s projects creating custom formulations more of these materials, pushing them through the 1980’s, we had at least for advancing the knowledge and the into further reaches of discovery and the beginnings of a scientific basis for potential of these amazing materials. creating even greater expectations for the use of acrylic as an artist medium. We were delighted to be guided their performance. This work continued in fits and starts and mentored in this effort by Ross Although a good deal of information until Paul Whitmore continued that Merrill, the Chief of Conservation was assumed to be known about the research of chemical changes in the at the National Gallery of Art in acrylic materials by the 1980’s, much acrylic at the Mellon Institute in Washington, DC. Ross supported our of the information was conjecture 1993. Marion Mecklenburg at the effort to sponsor the “Samuel Golden Issue 23 page 5 ©2010 Golden Artist Colors, Inc. Fellowship for Research into Modern ARTICLES Painting Materials” awarded to Dr. James Hayes, Mark Golden and Gregory D. Smith, “From Formulation to Greg Smith. Ross was instrumental Finished Product: Causes and Potential Cures for Conservation Concerns in bringing together various groups in Acrylic Emulsion Paints”, Proceedings: Modern Paints Uncovered, Getty to begin to tackle these important Conservation Institute, Tate, National Gallery of Art, Tate Modern, London issues. Included in this collaboration May 16-19, 2006 were the Smithsonian’s SCMRE, The Tate, The Getty, MolArt in the Frank N. Jones, Wenjing Mao, Paul D. Ziemer, Fei Xiao, Jim Hayes, Mark Netherlands, MOMA and eventually Golden “Artist Paints-an Overview and Preliminary Studies of Durability”, Queens University, Buffalo State, the Progress in Organic Coatings, 52 (2005) 9-20 University of Turino, and Winterthur. Elizabeth Jablonski, Tom Learner, Jim Hayes, Mark Golden, “Conservation All of these institutions, for the Concerns for Acrylic Emulsion Paints”, Reviews in Conservation, The first time, were working together to International Institute for Conservation of Historic and Artistic Works, 2003 understand the most important new medium of the last and this century. Mark Golden, “Basic Paint Research and Development” in Extended Abstracts, the Fifth Annual Infrared and Raman Users Group Conference, The Getty From these collaborations emerged Center, Los Angeles 2002 a highly committed consortium led by Dr. Tom Learner, the leading Jim Hayes, Mark Golden, Elizabeth Jablonski: “The Conservation of Acrylic researcher in Modern Materials. Dispersion Paintings: An Overview”, in Paintings Specialty Group Postprints, Culminating in the Symposium in American Institute for Conservation (2001) London in 2006, at the Tate: “Modern Jim Hayes, Mark Golden: “From Lab Bench to Canvas: 50 Years of Synthetic Paints Uncovered.” The many Polymers in Artists’ Materials”, Polymer Preprints, Volume 35, Number 2, dedicated scientists have continued (August 1994) Washington, DC: American Chemical Society, Division of this research, providing new tools for Polymer Chemistry, Inc. conservators and new insights for us J. Hamm, Ben Gavett, Jim Hayes, M. Golden, C. Kelly, J. Messinger, M. in our attempts to create products that Contompasis and B. Suffield, “The Discoloration of Acrylic Dispersion Media”, will provide artists even greater success in David Grattan (ed.), Saving the Twentieth Century: The Conservation of with these new modern coatings. Modern Materials, Canadian Conservation Institute, Ottawa (1991) FOOTNOTES 1 Margaret Watherston, “The Cleaning of SYMPOSIA Color Field Paintings”, in E. Carmean (ed), The Great Decade of American Abstraction: Modernist Frank Jones, Jim Hayes, Mark Golden Informal Presentation “Artist Paints – Art 1960-1970, Museum of Fine Arts, Houston An Overview and Preliminary Studies of Durability” at The National Gallery of 1974, pp.119-29 Art, Washington, DC (March 2003) 2 Henry W. Levison, “Yellowing and Bleaching Symposium: “A Plan for Condition Assessment, Treatment and Maintenance of of Paint Films”, Journal of the American Institute for Conservation, (1985), Vol 24, No. the Murals of the United States:” Presented “Exterior Mural Painting in Acrylic 2, Article 2, pp.69-76 Medium” The Getty Center, Los Angeles (May 2003) 3 Although pigments play a substantive role in “The Convergence of Art, Tools and Posterity” Joint Meeting of Midwest defining the change or lack of change in an artist Region Conservation Guild and the Southeast Region Conservation Association paint, the subject of lightfastness of pigments (November 2002) and their subsequent changes based on exposure will not be part of this article, other than the Symposium: “Santos: Substance & Soul” sponsored by The National Hispanic role of pigment concentration on the level of Cultural Center of New Mexico and the Smithsonian Center for Materials porosity and flexibility of the acrylic film. Research and Education. Presented “Acrylic Artist Paint Properties and Best 4 Symposium Workshop: “Modern Artists’ Practices for Painting Wood” (August 2001) Materials and Their Conservation Implications”, Conservation Analytical Laboratory, Symposium Presentation: “The Colors of Invention, An Exploration of Color, Smithsonian Institution. Presentation: “Plastics, Technology and Culture” at The National Museum of American History in Son, Plastics”. June 26-28, 1991 Washington, DC. Presenter in session “The Artist View: Color, Technology and 5 James Hamm, Ben Gavett, Mark Golden, Style in Postwar Art”, at Smithsonian’s Lemelson Center (1997) Jim Hayes, Charles Kelly, John Messinger, Margaret Contompasis and Bruce Suffield, “The Symposium Presentation: “Creators or Destroyers: Ethics, the Environment Discoloration of Acrylic Dispersion Media”, and Art Materials.” College Art Association Annual Conference, Presentation: in David Grattan (ed.) Saving the Twentieth “Art materials that last, art waste that doesn’t. Can we have both?” (September Century: The Conservation of Modern Materials, 1991) Proceedings of a Conference Symposium ’91, Ottawa, Canada, Sept 15-20, 1991, CCI Symposium Workshop: “Modern Artists’ Materials and Their Conservation Ottawa, Canada, 1993 Implications” Conservation Analytical Laboratory, Smithsonian Institution. 6 Mark Golden, “Modern Paints Uncovered Presentation: “Plastics, Son, Plastics”. June 26-28, 1991 Symposium at Tate Modern in London,” Just Paint Issue #15, 2006

As OPEN Acrylics dry and begin to lose some initial water, the paint changes from a very wet greasy state to a stiffer, thicker state, yielding a much ﬁrmer feel and therefore, captures line and texture much more crisply. OPEN Acrylics Matures to 80 (Colors that is) paint. They are like no other acrylic Thinner are available. In addition, product and this has dramatically there are two new Mediums being increased the range of options now added to the OPEN Acrylics line: available to painters. OPEN Medium (Matte) and OPEN OPEN Acrylics are a very different Gel Medium (Matte). feeling and working paint. They will We’re excited to have these truly allow artists to do things impossible innovative paints in our offering and with any other product. They are have enjoyed getting to know a number considerably softer in consistency than of artists that are new to the GOLDEN GOLDEN Heavy Body paints and brand as a result of this new medium. have a relaxed working property that We’ve also had a grand time hearing facilitates blending, softening, shading, from artists who are experimenting and It was just over two years ago glazing and creating ﬁne detail. This teaching us a thing or two about the that OPEN Acrylics was launched. increased working time allows these true versatility available with OPEN Unimaginable at the time – an acrylic paints to be used in more traditional Acrylics. We plan to keep this dialog that could potentially be worked techniques that were once only possible going for a long time to come. all day! As more artists began using with oils. Clearly, the OPEN Acrylics If you are new to OPEN and would OPEN, we started hearing the requests are not an oil replacement. Yet at the like to learn more about these for more colors and bigger sizes. same time, they have given artists a new products go to goldenpaints.com/ “Where’s the Zinc White?” “When will way to work, sometimes even changing OPEN for application sheets and 5 oz. tubes be available?” In response the way in which they paint. additional resources. these requests, we were happy to oblige this past spring by expanding the line And since these paints are still of OPEN Acrylics with 40 more colors acrylics, that means there are options. and two new mediums in a matte If an artist wants to modify opacity sheen. In addition, a select range of or speed up drying time, OPEN colors are now available in 5 oz. tubes Acrylics are designed to be a seamless and 32 oz. jars. extension of the existing GOLDEN line of acrylics and mediums, which These products are truly unique may be blended with OPEN to achieve so we’re extremely pleased with how the desired result. To maintain the quickly the artist community has maximum working time of OPEN embraced this new innovation in acrylic Acrylics, OPEN Mediums and

Issue 23 page 7 ©2010 Golden Artist Colors, Inc. One of the Most Treasured Professional Artist Oils in the U.S. Joins with One of the World’s Most Respected Names in Artist Colors “This will be the critical work for us here,” shared Jim Hayes, GOLDEN Technical Director and Chemist for over 23 years. “It is the intent of all of us at GOLDEN to be stewards of this legacy that was created by Carl. It is also our responsibility to assure the future legacy of artists’ work using these paints; that these materials will continue to be of a quality that we can all be proud to maintain.” Sarah Sands, GOLDEN Supervisor of Technical Services for over eight years, has a special relationship with Williamsburg Handmade Oil Colors. “I started using Carl’s paint while teaching at the New York Academy of Arts in 1992,” said Sands. “I instantly fell in love with the material. It’s almost impossible to describe the amazing tactile quality of the paints.” By 1996 while teaching at Indiana University, Sarah contacted Carl about the possibility of working with the company. By that spring, Sarah had Williamsburg Handmade Oil Colors joined the firm, providing her skills was an important objective. Working as Business Manager and technical with the employees from Williamsburg support consultant for artists. Sarah has been very positive and gaining their continued with Williamsburg until knowledge has been extremely valuable 2000. “We’re so fortunate to have and insightful.” Sarah’s background and knowledge, According to Mark Golden, co- to be able to internalize and share founder and CEO of Golden Artist company-wide, that passion for paint,” Colors, “there was no question that said Hayes. Williamsburg Handmade Oil eventually we would make oil colors The history of Golden Artist Colors has made the move 30 miles here. In fact, for over 20 years, we Colors has roots in the 1930s as north from one small upstate, New have been making custom oil paints Mark’s father and co-founder of York town to another. On May 21st, for artists requiring unique colors Golden Artist Colors, Sam Golden, Golden Artist Colors completed the or materials.” The main focus of began working with his uncle, Leonard purchase of the small manufacturer GOLDEN for its 30 year history, Bocour. Bocour Artist Colors began and is now producing the oil colors in however, has been the advancement of as a color shop making hand ground the GOLDEN Custom Lab facilities modern coatings for artists. Not only oil paints for artists in Manhattan. “As within its original factory in New has it produced the widest range of confident as we were that eventually Berlin, N.Y. acrylic coatings for professional artists, we would be making an oil paint, we the company has also contributed Barbara Schindler, President were also mindful that it would not significant research to modern art of Golden Artist Colors, shared, be a GOLDEN Oil,” shared Mark. conservation. Moving forward it will “We are very excited to be making “Our company is known for being an be important that GOLDEN earns the Williamsburg Oils. I’m delighted advocate for the relatively new Acrylic trust of Williamsburg supporters by that we were able to offer positions Medium. We sought a brand continuing the tradition of this in our company to all staff from of professional oils that could stand unique, niche oil paint created over Williamsburg. Retaining the staff on its own. We are thrilled to begin 25 years ago by the late Carl Plansky. responsible for producing quality this journey.”

Issue 23 page 8 ©2010 Golden Artist Colors, Inc. to become an art teacher, but being of opportunity in the Binghamton in that environment helped me area. While I was working at a local tremendously in my career here at sign company, PAC Signs, I remember GOLDEN. It taught me how to taking my lunch break and began convey material in a way that was easily reading the paper’s classifieds and – understandable. My experience has long story short, I eventually went to helped me to take complex material New Berlin for an interview. and translate it into clear, concise Mark: Michael, what year was that? information, whether I’m talking with an artist on the phone or writing an Mike: It was 1989. The ad was for e-mail response. At GOLDEN, it’s Quality Control, a lab technician. It never been about, ‘here’s the answer.’ said that artistic skills were desired, but It’s always been focused on, ‘here’s not necessary. Since 1997 Mike Townsend has been part of the the answer and here’s how I arrived I found it interesting – an artist GOLDEN Technical Support Services Team. at this answer, these are the best paint company in upstate New York. I recommendations about how you can didn’t know anything like that existed TECHNICAL do this for yourself.’ here. It didn’t seem like it’d be too At GOLDEN, we’re not just terribly difficult to do, and it’d also SUPPORT, reading scripts. It’s very rare we will give me access to paint! That was part MIKE TOWNSEND pull up a Tech Sheet, look at it and of the motivation. CLOSE-UP recite it word by word. That’s just I started in Quality Control, which not something we do. We give all helped me learn the characteristics of Mark Golden: Mike, when did you of the information possible, all the the paint and what makes good paint know you wanted to be an artist? different scenarios. versus bad paint. Mike Townsend: I knew very early Mark: So it’s need by need, artist Mark: It was great having someone on, when I was a teenager. I’ve always by artist, realizing that everyone has a join us with some unique skills in silk enjoyed drawing and creating, slightly different situation. screening and airbrush as well. We learning new things, and especially Mike: Yes, everybody’s different. were able to take advantage of some of comic books. I’ve realized over the years that I can’t that knowledge as we had projects that Mark: Were you copying the comic go into a call with a perception of what involved both silkscreen and airbrush books or drawing them? I think it’s going to be about. I never paints when you came on board. assume I know everything about Mike: I would look at the image, Mike: That’s right. In fact, I the situation. study it and then draw what I saw. remember a meeting some time ago There were always certain comics that Mark: You get to speak to some where you had heard I did airbrushing I enjoyed because of the way they were of the most talented and creative in college and had some experience in drawn. The illustration part of it was people in the world. It’s a pretty that area. You asked me to try out a really fascinating to me. I also looked unique position. product and provide feedback. We had to not only develop the at the line work that was done for early Mike: Definitely! We’ve been newspapers – where they had to create product, but create testing methods providing this service for over ten as well. There wasn’t any manual on shadows and highlights with nothing years and the number of phone calls more than line work. By eighth grade, how to make Airbrush Medium or and e-mails we’ve had come in is even how to use it. I was taking every art class I could. It staggering. The diversity of the artists always seemed that art class ended too I’ve spoken with is really amazing. Mark: After the completion of that quickly, that was always my escape. And I guess that’s part of the fun and project, you also wrote the Tech Mark: You went directly to art school the allure of being here. I never know Support information for it. You were after high school? who’s going to be on the other end of our resident airbrush expert. Was it a that phone when I pick it up. slow changeover from working in the Mike: At the time I was still very Lab to eventually spending more time involved in sports and I also knew Mark: When you finished school, on the phone responding to customers? that I wanted to do something in art. were you doing the typical artist thing, I wanted to find a school that had painting by night and working another Mike: Yes, it was a transition. It both. I ended up going to Mansfield job by day? didn’t happen overnight. We worked University. together until we created a successful Mike: I was figuring out what to do. process for technical calls and e-mail, Mark: Mansfield is a strong teaching In my junior and senior year I obtained and creating product and application college. Did you think you were going a concentration in advertising. That information sheets. to be an art teacher? was the direction I was going to take. I began thinking about moving to New Mark: Michael, when did you Mike: I didn’t attend Mansfield York City, knowing there wasn’t a lot become full-time tech support?

Issue 23 page 9 ©2010 Golden Artist Colors, Inc. Mike: It was 1997. Mark: It happened soon after we decided to put our phone number on all of our product labels. Customers would get a real person on the phone. So, 13 years later, what have been the most exciting changes here or the most exciting projects that you’ve worked on through Tech Support? Mike: There are many different facets that keep it fresh and enjoyable and keep me wanting to do more. When we started getting the calls about the fiberglass animals was exciting because it was a new opportunity for learning – we didn’t have any Tech Sheets about it. It was all very new to us. The frequency of calls and e-mails regarding this topic just kept increasing, so we knew we needed to become knowledgeable about it. Our Mike Townsend (left) and Ulysses Jackson (right), both part of the Technical Support Services Team, discuss testing results. customers needed information, so we’d provide it. I think this was the basis for a lot of our Tech Sheets. There was a perspective. We use the space to supply Mike: It has definitely influenced need for it, so we responded, even if the Lab with real life examples of the it. I came out of the studio arts it meant that we needed to put aside ways in which artists are probably printmaking, oil painting and resources to conduct the proper testing going to be experiencing the product. sculpture mentality. Coming to and research. It didn’t matter. We’d What better way to either question the GOLDEN and working with a do whatever was necessary to get our results from the Lab or reinforce that professional acrylic paint was an eye customers the most valuable, accurate information from the Lab? opener for me. Working here and information possible, even if it meant Mark: Mike, can you talk about the discovering materials and working in that we had to find resources outside new project you’re working on with the Lab and literally being the first of GOLDEN. It’s what we do. That’s Ulysses, producing Tech videos for our artist ever to use certain materials – what’s most exciting about being here. YouTube® page? even before the person that ordered the custom product – has been exciting Mark: That’s been a great Mike: Let’s face it, artists are very and inspirational! contribution – to be able to share the visual. It’s been wonderful to help an information that we all gain as we artist understand something in two To be able to test and experiment speak to more customers or reach out minutes which would normally take us with materials has been a lot of fun. to other companies making unique about seven pages of text. I’ve been here almost 20 years. It’s been 20 years of education, knowledge products and being able to share that It’s really been a lot of fun, and we information for everyone. and discovery that never would have all realize that the goal isn’t to make been available to me and that’s part of Mike: Yeah. a polished Hollywood production. the excitement. The most difficult part Mark: Recently you’ve been We’re trying to convey information over the last 20 years, especially after instrumental in helping to create the quickly and clearly. The feedback from becoming a father, has been being able new Technical Support Applications artists has been really positive, which to take all the knowledge that I have Room here at GOLDEN. How is that makes it so rewarding. We also have gained at GOLDEN and applying it to used by the Tech crew? some of our stores and vendors starting my own work, finding the time to get to embed these videos into their own back to painting and creating. Mike: It’s really a little oasis away documents and literature. We’ve got from our desks. It’s an independent blogs that are referencing them Mark: Thank you for your time place for Tech Support staff to work already, too. Michael. We are all so proud of what with materials, conduct our own you’ve been able to accomplish for all Mark: testing, spend time with visiting artists, You haven’t stopped painting our benefit - being the pioneer in Tech teaching them about our materials. even though you’ve had a bunch of Support and I thank you for helping to roles here. How has being part of this make this service such a cornerstone of We try to approach our work in company, being a part of the Tech the company. that area with Lab testing in mind, Support for the entire company, of course, but coming from an artist changed or influenced your painting?

As of April 5, 2010, Golden and Trainer, Andrea Bice. “It’s exciting Greg Sheldon. “It’s when the work Artist Colors is now under new to know that each and every one of us load pressure increases and everyone ownership. Employees are no longer has the opportunity to positively affect focuses harder on their job. This level just participating owners, but the a legacy that has been entrusted to us of intensity insures that promises made majority owners of the company. by Mark and Barbara Golden.” to our customers and ourselves, are GOLDEN has become one of only According to company President honored, regardless of the magnitude 4,000 other companies across the & COO Barbara Schindler, this was a of the job. There is pride and entire United States that is majority natural step forward for the company. accountability with ownership that owned by its employees. “GOLDEN is a leader not only in the is absolutely a powerful advantage “This has been an unbelievable development of ﬁne art materials, but we have being an employee majority journey for all of us here at in employee growth and support as owned company!” GOLDEN,” said CEO, Mark Golden. well and it’s paid off,” said Schindler. “Since the beginning, we have tried to “Participating create an environment where people in an ESOP has can thrive, believing that if the people been incredibly thrive, the company will too. These motivational for philosophies lead us to establish an staff, and this has Employee Stock Ownership Program resulted in a marked for Golden Artist Colors in 2002, improvement in providing a tangible way for employees performance for the to not only act and feel like owners, entire company.” but to be owners. Now just eight short “The major years later, our dream of majority difference of an ownership for staff has come true!” ESOP company isn’t “Together as employee owners, we in the daily business work diligently to nurture and grow routines,” said the company,” said Filling Technician Operations Manager, Barbara and Mark Golden receive a commemorative scroll from employees at a GOLDEN ESOP Majority Ownership Celebration.

Issue 23 page 11 ©2010 Golden Artist Colors, Inc. GOLDEN Stops Production and Celebrates ‘Paint Day’ Instead of making paint, staff was using it. On June 21, 2010, GOLDEN “The Working Artists are always shipping the paint. “The challenge,” shut down operations and celebrated excited to visit the factory and spend described Brady, “was to ensure that Paint Day, an opportunity for all staff time with staff,” said Artist and all staff was able to at least touch that to paint and take workshops from the Working Artists Program Director, spark that is the driving force for every professional artists of the GOLDEN Patti Brady. “It was a joy to see their artist and to understand why painting Working ArtistsSM Program. Employees faces light up at the unexpected with GOLDEN products is such a were given the chance to be artists for discovery that often times happens passion for so many artists.” the day, spending their time pushing when painting. Even more rewarding The Working Artists are around paint, experimenting with was observing the interaction between professionals whose credentials range materials and being creative! the Working Artists and GOLDEN from Masters of Fine Arts to Masters “It was an opportunity for folks to staff. This one-on-one interaction in Education. The majority of artists see the materials through the artist’s in the class is what has made the maintain a rigorous studio practice eyes and experience the paint as users Program so strong in the last 13 years.” while continuing to exhibit in national, and not makers,” said GOLDEN Paint Day gave these professionals international, group and solo shows. President, Barbara Schindler. “It was a an opportunity to teach folks more day for collaboration, idea sharing used to making, testing, ﬁlling and and just fun!”

Issue 23 page 12 ©2010 Golden Artist Colors, Inc. ® continued from page 4 UV ﬂuorescent equipment or Xenon to cotton or linen canvas, Masonite As these materials are being made Arc full light spectrum sources. Studies board, or other similar surfaces. We more and more transparent, artists are completed by Whitmore, Colaluca and coined this potentially severe yellowing working in thicker and thicker fashion Morris suggest that acrylics are subject in our research paper in 1992, “Support 11 as if working in thick watercolor or a to some of the same effects of oils stored Induced Discoloration” . The 10 cold glass. It is important that artists in the dark. They demonstrated that waterborne acrylic, which contains experimenting with these materials after UV exposure they were able to signiﬁcant surfactants or soaps is consider and are able to anticipate the reduce yellowing on their aged sample. capable of drawing into it any of the potential for changes. They were less successful on reducing water miscible components in the yellowing caused by the interaction of substrate, even through gesso layers, Although an imperfect method for the acrylic and the support. leaving the acrylic dramatically yellowed making determinations of change that The most dramatic changes in and darkened. This photo shows the might take hundreds of years to occur, effect of simply washing the canvas we have attempted to use accelerated surface color and translucency occur as the gels are made more matte in their before applying the gesso and the gel UV exposure to demonstrate changes medium. It is also possible to reduce this effect by using a primer such as our Polymer Medium to somewhat seal the canvas surface before priming12. Support Induced Discoloration is

Various gloss acrylic gel medium, approximately 1/8 inch. Top row is unexposed controls. Bottom row demonstrates color change after exposure to 400 hours UVA.

in the acrylic gel mediums. The most appearance. This is typical as additional common change is a yellow to amber solids are added to the gels to reduce cast of the gel with some degree of their overall gloss. As these films age, increase in opacity in some of the they both gain color and reduced clarity. examples. The thicker the gels, the Support Induced Discoloration greater tendency to also show bubbles One of the most significant culprits trapped in the films. These same results to the color change occurs when thick are evident with accelerated aging using applications of acrylic gels are applied Discoloration of gel medium caused by components in the canvas being absorbed by the wet gel medium. The linen and cotton canvas (left) was washed before applying the gesso and gel medium. Approximately 1/8 inch thick. not apparent when working in a thinner fashion on even the dirtiest of substrates, as the thin acrylic dries too quickly to draw in too much of the components of the substrate. Sensitivity to Solvents Acrylics are sensitive to most solvents, consequently, well intentioned attempts to clean an acrylic painting can cause problems. It is possible with the mildest of solvents and the lightest of intentions to abrade, dissolve, and scratch the acrylic film. The only solvents that can Various matte acrylic gel mediums approximately 1/8 inch. Top row is unexposed controls. Bottom row demonstrates color change after exposure to 400 hours UVA. appropriately be used, creating the least

Issue 23 page 13 ©2010 Golden Artist Colors, Inc. damage to an acrylic film are mineral quite advantageous.14 This is certainly the pigment particles are well dispersed spirits and water. Unfortunately, something we can only recommend within the acrylic matrix. On drying mineral spirits does not work well as a for the artist to try to attempt on their they no longer serve a purpose and on cleaning agent, so one is left with the own work as they know the work the surface they can produce a blemish potential use of water on the work. and its construction most intimately. that can reduce the gloss and evenness If one was to read any of the popular It would be naive of us to think that of the painting. Simply wiping with conservation publications, it would artists do not clean their own work. It water can remove this filmy material suggest that because water will swell, is our responsibility to provide those and improve the painting’s clarity. It it should not be used for cleaning an resources to artists so that they may can also aid in subsequent adhesion of acrylic paint film. It has only been of be successful and avoid solutions that varnishes to the final decorative surface very recent work, within the last few clearly won’t work. Once the work of the painting. years, that there is some suggestion leaves your studio, your clients should that application of water may work seek a paintings conservator that works successfully to clean acrylic paintings. with modern paintings. Many talented On our website in Just Paint Issue 5, conservators are listed on the American we outlined the various dry cleaning Institute for Conservation (AIC) methods to clean your paintings. We website, www.conservation-us.org. continue to advocate quite strongly that The advantage of cleaning the acrylic dried methods should be completed film with water is that it is a wonderful first and in some fragile work, only cleaning solvent. It has also been found dried methods are appropriate. that just a damp cloth can be quite

MSA ﬁlms approximately 1/8 inch. From top to bottom: Left side: Detail of surface after dry cleaning and clearing with a damp cloth. Right side: Detail of dusty, ﬁlmy layer on Gloss, Satin and Matte MSA Varnish. Left column exposed 23 year old acrylic paint surface. to 400 hours UVA radiation. Right side unexposed control.

We have found in our research that successful in removing some of the Our MSA Acrylic (soluble in mineral cleaning with a damp non-linting excess additives in the paint that exudes spirits), which is the basis of our most cloth can work quite successfully to the surface. The most common important acrylic varnish, continues to without creating signiﬁcant damage constituent of this surface accumulation be the most consistently clear of any to artwork.13 Although early in of additive is ‘surfactant’. This acrylic binder. It is understandable that the research, it has been noted by surfactant is required as part of making making these systems compatible with several conservation scientists, that the actual acrylic polymer dispersion. water increases the degree of change in cleaning with water may even be Surfactants are also used to make sure these other acrylic systems.

Section of acrylic ﬁlm: Water cleaned with damp cloth on right side showing removal of surface blemish.

Issue 23 page 14 ©2010 Golden Artist Colors, Inc. Although it is not possible within yellow component as well as a slight the scope of this article to review the loss of clarity. We might also expect advantages of varnishing your acrylic that matte acrylic paintings will have painting, (see Just Paint Issue 2 on our absorbed more pollution discoloration Web site) our system of isolation coat that will be difficult to remove. But for and final varnish will dramatically aid paintings constructed with more color in preserving the original intent of the than gel or other mediums, that the work while potentially adding a barrier colors will remain quite crisp as long as coat and sacrificial coat for subsequent a regular maintenance of dust removal conservation to preserve your painting. or varnish application is considered. The acrylic medium remains the SUMMARY most permanent of artist painting media to date. The acrylics have so It is clear from our research and the far shown to retain their exceptional work of many others, that the acrylics, flexibility and continued resistance as flexible, as lightfast and as clear as to UV light. The acrylic colors have they may be, are still not perfect. They maintained their brillance over these will exhibit change over time and this last 60 years and should continue change, not so apparent yet to many to do so. artists, will become apparent over time. So what might this acrylic patina be The exciting part of this story is called? “Gold tone” is already used by that it has not yet been completely oil paint. It is unlikely that the acrylics written. As these materials continue will ever reach the level of yellowing of to evolve, new approaches and new drying oils. discoveries may mitigate even further the anticipated changes in the acrylics. We can surmise that the more matte, Maybe someday these coatings will and thickly applied gel coats will age fulfill the potential to be the most to a more opaque and more amber to permanent of materials in the service brown appearance. We can also expect Sample Gel Chart produced in 1993 with 90% gel of art. and 10% color, showing little change when mixed the thick gloss gels to also have some with various gels.

FOOTNOTES 1 Gerry Hedley, “Measured Opinions, Collected Papers on the Conservation of Paintings”, Edited by Caroline Villers, United Kingdom Institute for Conservation 1993, pp.152-167 2 Paul Philippot, “The Idea of Patina and the Cleaning of Paintings, (1966)”, (Garrett White, translator) Issues in the Conservation of Paintings, Reading in Conservation, David Bomford & Mark Leonard (ed.), Getty Conservation Institute, 2005, pp.391-395 3 Svetlana Boym, “The Future of Nostalgia”, Basic Books, 2001 p46. 4 M. Kierby Talley, Jr., “All Good Pictures Crack: Sir Joshua Reynolds’ Practice and Studio”, ‘Reynolds’, Edited by Nicholas Penny, Royal Academy of Arts, London, 1986, pp.55-70 5 Carol Stringari and Ellen Pratt, “The Identiﬁcation and Characterization of Acrylic Emulsion Paint Media”, in David Grattan (ed.) Saving the Twentieth Century: The Conservation of Modern Materials, Canadian Conservation Institute, Ottawa, 1993, pp.411-440 6 Eric W.S. Hagan, “The Viscoelastic Properties of Latex Artist Paints”, Thesis submitted for the Degree of Doctor of Philosophy of the University of London and the Diploma of Imperial College, 2009, pp.177-180 7 Frank Jones, Wenjing Mao, Paul D. Ziemer, Fei Ziao, Jim Hayes, Mark Golden, “Artist Paint-an Overview and Preliminary Studies of Durability”, Progress in Organic Coatings 52 (2005), pp.9-20 8 Paul Whitmore and Val Colaluca, “The Natural and Accelerated Aging of an Acrylic Artists’ Medium.”, Studies in Conservation, 40, 1995, pp.51-64 9 Data obtained with permission from Tom Learner. 10 Paul M. Whitmore, Val G. Colaluca and Hannah Morris. “The Light Bleaching of Discolored Films of an Acrylic Artists’ Medium”. Studies in Conservation, Vol 47 (2002), pp.228-236 11 James Hamm, et.al. “The Discoloration of Acrylic Dispersion Media: in David Grattan (ed.), Saving the Twentieth Century: The Conservation of Modern Materials, Canadian Conservation Institute, Ottawa 1993, pp.381-392. 12 In previous technical literature, GOLDEN GAC 100 has been listed as the most efﬁcient block for SID. Current research has demonstrated that the GOLDEN Polymer Medium is more effective. 13 Jim Hayes, Mark Golden, Elizabeth Jablonski: “The Conservation of Acrylic Dispersion Paintings: An Overview”, in Paintings Specialty Group Postprints, American Institute for Conservation (2001) 14 Dr. Greg D. Smith, Presentation at Modern Paints Uncovered, A Symposium Organized by the Getty Conservation Institute, Tate and the National Gallery of Art, Tate Modern, London May 16-19, 2006

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Issue 23 September 2010 Articles: Mark Golden, Jodi O’Dell, Michael Townsend, Jim Walsh Editor: Jodi O’Dell Publisher: Golden Artist Colors, Inc. 188 Bell Road, New Berlin, NY 13411-3616 607-847-6154 800-959-6543 Fax: 607-847-6767 Email: [email protected] Web: goldenpaints.com WilliamsburgOils.com

© 2010 Golden Artist Colors, Inc. All rights reserved. The contents of this publication may not be reproduced either in whole, or in part, without the consent of Golden Artist Colors, Inc. Golden Artist Colors is an Employee Owned Company.

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will also be open from 12:00-3:00 p.m. on the following Saturdays: October 2nd, 9th and16th. 9th 2nd, October Saturdays: following the on p.m. 12:00-3:00 from open be also will

The SAGG hours are Monday - Friday from 8:30 a.m. to 4:30 p.m. Please note that for this show, the SAGG SAGG the show, this for that note Please p.m. 4:30 to a.m. 8:30 from Friday - Monday are hours SAGG The

. whom he shared an artistic vision artistic an shared he whom

Carl Plansky and to all of his friends with with friends his of all to and Plansky Carl of technology the in himself immersed

Colors, Inc. This exhibition is dedicated to to dedicated is exhibition This Inc. Colors, machine from painter Milton Resnick and and Resnick Milton painter from machine

legacy is carried on proudly by Golden Artist Artist Golden by proudly on carried is legacy In the 1980s, Carl acquired a milling milling a acquired Carl 1980s, the In

powers, died on October 10, 2009. His His 2009. 10, October on died powers,

space, regrettably, could not be represented. represented. be not could regrettably, space,

Carl Plansky, at the height of his artistic artistic his of height the at Plansky, Carl

group of intimates that due to limits of of limits to due that intimates of group

Carl Plansky, Self-Portrait, 2005, Oil on Panel, 18” x 14” x 18” Panel, on Oil 2005, Self-Portrait, Plansky, Carl characteristics of the paints that he created. created. he that paints the of characteristics nearly thirty years, are from a much larger larger much a from are years, thirty nearly

familiarity with the materiality and unique unique and materiality the with familiarity ‘Friends’, several of whom knew Carl for for Carl knew whom of several ‘Friends’,

and energy that was also informed by his his by informed also was that energy and Judith Linhares, and Mary Jo Vath. These These Vath. Jo Mary and Linhares, Judith

Photo by Richard Walker landscape and ﬁguration, with a vigor vigor a with ﬁguration, and landscape Cohen, Bill Jensen, Margrit Lewczuk, Lewczuk, Margrit Jensen, Bill Cohen,

time-honored pictorial subjects: still life, life, still subjects: pictorial time-honored Jake Berthot, Susanna Coffey, Cora Cora Coffey, Susanna Berthot, Jake

As a painter, Carl was able to imbue imbue to able was Carl painter, a As Resnick, Milton Passlof, Pat are

The ‘Friends’ included in the exhibition exhibition the in included ‘Friends’ The

Williamsburg Handmade Oils. Oils. Handmade Williamsburg

requirements of growing the color line for for line color the growing of requirements fellow artist ‘Friends’. ‘Friends’. artist fellow

painter motivated the search as well as the the as well as search the motivated painter displayed along with those of a group of his his of group a of those with along displayed

sourcing rare pigments. His own needs as a a as needs own His pigments. rare sourcing both artist and paintmaker. Carl’s works are are works Carl’s paintmaker. and artist both

Carl reveled in searching out and and out searching in reveled Carl Williamsburg Handmade Oil Colors, as as Colors, Oil Handmade Williamsburg

of painter Carl Plansky, founder of of founder Plansky, Carl painter of

approach to making oil paints. paints. oil making to approach

This exhibition celebrates the legacy legacy the celebrates exhibition This

fertile ground for Carl to develop his unique unique his develop to Carl for ground fertile

milieu of Williamsburg, Brooklyn, provided provided Brooklyn, Williamsburg, of milieu November 20, 2010. 20, November

Handmade Oil Colors. The burgeoning art art burgeoning The Colors. Oil Handmade September 25, 2010 and running through through running and 2010 25, September

enterprise that became Williamsburg Williamsburg became that enterprise ‘Carl Plansky and Friends’ opening on on opening Friends’ and Plansky ‘Carl

blossomed into the full scale paintmaking paintmaking scale full the into blossomed pleased to present an exhibition entitled, entitled, exhibition an present to pleased

paintmaking. In short order, his explorations explorations his order, short In paintmaking.

The Sam & Adele Golden Gallery is is Gallery Golden Adele & Sam The

By Gallery Director, Jim Walsh Jim Director, Gallery By

‘Carl Plansky and Friends’ and Plansky ‘Carl