Selecting
and caring for your art
©
2012 – 2014 by Tom Baillieul
Artworks
come in many forms (2-dimensional,
3-dimensional, free-standing) and materials. A collector needs to know
a little
bit about how an artwork is constructed to understand how best to
display and
care for it. The materials from which a piece of art is made may also
play into
the pricing of the art. When in doubt, ask the artist or gallery owner.
ARCHIVAL
MATERIALS
Artists
throughout history have experimented with
a wide variety of materials to create works of art – some of
which turned out
to be less durable than others over time. For the artist, the creative
process
often is more important than the end product. Artists of antiquity in
equatorial Africa worked mainly in wood, fiber, leather, bone, and
shell,
materials which decompose rapidly in a hot, humid environment. Thus, we
have
few traces of art from this region that date to more than 2 centuries
ago. In
contrast, the artists of ancient Egypt sought to create works that
would last
through all eternity – and chose durable materials (stone,
bronze, glazed
ceramics). The Egyptians also were favored by a dry climate that aided
preservation even of fragile paintings, papyrus, and cloth.
Sometimes
the artist is limited by the technology
of the time, or the expense of different materials. Several of the
great French
Impressionist artists worked with pastel and paint on brown wrapping
paper, a
very temporary surface because of its high acid content. Also, some art
works
are made intentionally to be ephemeral. Material matters –
let's look at some
of the most common.
Stone
Most
types of stone are very durable and tolerate
exposure to weather, making stone sculptures attractive pieces for
outdoor
displays. Marble, and its un-metamorphosed relative, limestone, are
subject to
chemical weathering from acid rain. Granite, basalt, norite, and
diorite are
highly durable and will hold a high polish even across centuries.
Schist,
slate, and shale are much less durable. Sculptures which have a lot of
indents
and crevices which can hold water should not be placed outdoors as the
expansion of water when it freezes can shatter them. You can get an
idea about
the durability of different types of stone by visiting old cemeteries.
Ceramic
We're
all familiar with ceramics in our dinnerware
and various industrial uses. Ceramics are essentially clay which has
been
heated (“fired”) to a temperature that drives off
internal water and causes the
minerals to fuse. They come in many colors and grades, and durability
varies
with type and the temperature at which they are fired. Terra-cotta,
best known
from flower pots and roof tiles is an economical, widely available
clay. It is
fired at low temperatures, is porous unless glazed, and has less
durability
than the high-fired ceramics. Stoneware and porcelain are examples of
higher
fired clays and come in a variety of grades. All ceramics can be
glazed,
essentially painted with a slip, or liquid slurry, of finely crushed
minerals
and pigments. When fired, the glaze turns into a thin coating of glass.
Be
careful when using ceramic creations as utilitarian vessels –
the acids found
in some foods (e.g., fruits, salad dressings) can leach harmful metals
out of
certain glazes. Ask the artist about the safety of this type of use
(many
ceramicists and potters label their creations with instructions for use
and
handling).
Take
care if deciding to place ceramics outdoors
as freeze-thaw conditions in colder climates can cause some ceramics to
fracture.
Metal
We
humans talk about our history in terms of the
metals we employed – the “Copper Age”,
the “Bronze Age”, the “Iron
Age.” Metals
shaped our culture, and have been used in art from the earliest times.
Under
the right conditions, an artwork made of most types of metals can last
hundreds
and even thousands of years. Bronze (an alloy of tin and copper) may be
one of
the most durable materials known. Iron rusts (even if kept indoors in
humid
climates), which can create a protective patina, but may corrode away
if it is
contact with acid soil. Stainless steel, bronze, and brass (an alloy of
zinc
and copper) can last essentially forever either indoors or out.
Aluminum is
very weatherproof, but bends and tears easily. Probably the most
important
thing to consider when selecting a metal artwork is where it will be
shown, and
the potential for it to get bumped and bent, or scratched. As with
ceramics,
before you attempt to use a metallic creation in a utilitarian fashion
(e.g., as
a fruit or punch bowl) check with the artist or gallery owner about the
metal's
composition. Antique pewter always contains dangerous amounts of lead
as does
older soldering on copper pipes and plates; some steel can be alloyed
with
metals like cadmium which can be leached out in harmful amounts.
Wood
There
are many different types of wood and this
material can be shaped by artists into an almost infinite variety of
forms.
Like metal and ceramic, wood can be crafted into pieces that combine
aesthetics
and useful functions. Many traditional cultures make utilitarian
objects (e.g.,
spoons, bowls, chairs and stools) out of wood, but beautify them with
elaborate
carvings and designs. Even in 21st Century America, woodcrafters turn
out
beautiful and functional pieces which, with proper care, can last a
lifetime. Water
is the natural enemy of wood, so if you are buying a sculptural piece
or a
carved garden bench to be placed outdoors, know that it will have a
very finite
life. As a rule, the harder the wood, the longer it will last in the
elements
(that's why yacht builders use teak and mahogany for decking). Some
woods, like
cedar and chestnut (alas no longer available) are amazingly resistant
to rot.
Sometimes a good grade of exterior varnish, renewed every two years or
so, can
extend the life of an outdoor artwork made of wood. Ask the artist or
gallery
owner about the appropriateness of such treatments.
Indoors,
with reasonable humidity control, wood
carvings, turnings, and utilitarian pieces can last indefinitely. Be
sure to
ask the artist or gallery about care instructions. Some may recommend
regular
treatment with a fine oil (tung or lemon oil) or wax. Also, if you want
to use
an item such as a turned wood bowl for serving salads, breads, and the
like,
ask about proper use and care.
Paintings
For
many of us, when we think of art, we think of
paintings; and certainly, 2-dimensional paintings in a variety of
mediums have
dominated western art for centuries. As museum exhibits show, oil and
egg
tempra can survive with minimal loss of brilliance for hundreds of
years.
Modern oil, acrylic, and alkyd paints are formulated for long-lasting
durability and color retention. Lightfastness is a relative term (see
“The
Enemies” below). Some pigments are less lightfast than others
(esp. fluorescent
colors). Mineral pigments (ocher, sienna, umber, bone black, titanium
white,
French Ultramarine) tend to hold their true colors indefinitely.
Pastels
(including
colored pencil and charcoal)
Pastels
comprise powdered pigments and a binder and
are used for drawing on paper or specialized 2-dimensional surfaces.
Most
pastels are lightfast. Being applied dry, pastels can smear easily and
must
always be protected under glass. Never use plastic, such as
Plexiglas® to cover
a pastel work; the plastic builds up a static electric charge which
will lift
the pastel powder right off the surface. Famous pastel artists such as
Degas
and Toulouse Lautrec created works on brown wrapping paper –
because it was
cheap. Some current artists emulate this style. The problem is that
brown paper
has a high acid content and it decays within a decade or two without
treatment
by qualified conservators – and expensive proposition!
Encaustics
These
artworks are basically wax, or wax combined
with other materials. While the pigments used with the encaustic
material may
be lightfast, wax by definition is very soft and can scratch easily.
Also,
these artworks should be kept out of direct sunlight and away from heat
sources
such as fireplaces.
Photographs/Lithographs/Digital
prints/Silk Screen
prints
Photographs
and digital prints are printed with
dyes or inks on papers of various weights and surface treatments.
Lithographs
and silk screen prints are printed on paper using thicker inks. All of
these
types of work when produced on acid-free paper and with pigment based
inks
(rather than dyes) can last for more than a century with proper care.
However,
like watercolors, these types of artworks are highly sensitive to
sunlight and
other sources of ultra-violet radiation, and will fade rapidly when
exposed to
strong light sources. Covering such works with ultra-violet blocking
glass can
help ensure their lasting color and longevity. If you buy photographs
or prints
produced with novel techniques, be sure to ask the artist or gallery
owner
about durability and any special care requirements.
Fiber/Cloth
Weavings,
quilts, macrame felt sculptures, works
in fiber represent one the most ancient traditions in art. Fiber can be
cloth,
thread, string, twine, rope, and sometimes leather, wire, grass,
bamboo, or
vines. As Egyptian archeology has shown, cloth and other fiber
constructions
can last for millennia. The key is to keep things dry. Some curators
choose to
protect fiber works behind glass, whereas most fiber artists want
people to get
up close so that they can see a piece's subtle textures. One final
point, the
colors in a fiber construction will fade when exposed to light the same
way as
a painting or photograph.
Mixed
Media
Like
the old adage that a chain is only as strong
as its weakest link, so too mixed media pieces are only as durable as
their
most fragile components. The components of mixed media works will tend
to be
those discussed above, although some artists include materials we might
not
consider appropriate for a work of art. Acclaimed Nigerian artist,
Chris
Offili, creates mixed media collages incorporating symbolism from his
African
roots – commonly placing pieces of elephant dung onto his
canvases. Purchasers
of his high-priced works learn to their dismay that, no matter how many
coats
of varnish, dung is not archival. I once saw a composite piece where
the artist
had chewed cheese puffs and spit mouthfuls onto baby wipes, framing the
resulting diffused orange mass. Such a work cannot be considered
archival – or
particularly sanitary. Another piece I once owned was a framed and
glassed
chess board where alternate squares were constructed of iridescent blue
butterfly wings. After several years I noticed that many of the wings
were
decomposing. On closer inspection I found that tiny insect larvae were
eating the
way through the wings!
Always ask the
artist or gallery about the components of any mixed media work, and
about
special handling/care required.
Paper
Paper
is well known as a substrate for artworks in
watercolor, pastel, pen and ink, charcoal, pencil, and even oil or
acrylic
paint.
Paper can also be an artistic
medium in its own right.
Paper pulp can
be shaped and sculpted into a wide variety of three-dimensional forms. Flat
sheets can be cut into intricate
patterns and layered to create fantastic shadows. Paper
can be folded into shapes both simple
and highly complex (e.g., origami). It
can be treated with waxes or oils to create different levels of
translucency. It
can be torn or shredded, woven and
stitched, embossed or carved, even scorched and burned. And
paper in all these forms can be dyed or
painted with many different media.
While
paper is versatile as a medium, artworks in
paper require exceptional care.
Paper
tears easily, it creases readily, it stains permanently, it is
flammable, and
it will degrade over time (especially if it is not acid-free). Most
thin paper is not dimensionally stable,
meaning that larger sheets will tend to sag and distort even when
matted and
framed.
Artworks made of paper should
be
displayed away from direct sunlight, and should not be exposed to high
humidity
or large changes in temperature.
Recognize that paper is one
of the most ephemeral of media.
THE
ENEMIES
Time,
sunlight, water and acid are the traditional
enemies of any artwork. We can't do anything about time, but there are
ways to
minimize the effects of the others.
Sunlight
Ultraviolet
rays, which come with sunlight (even
on cloudy days) can “bleach” certain pigments,
including ones which may be
labeled “lightfast.” Sunlight can also destroy or
discolor various papers.
Never hang an artwork in a spot which receives direct sunlight and
consider
covering with an ultra-violet protective glass.
Acid
Common
papers (newspaper, copier paper) are made
in a process which leaves an acidic residue in the fibers. Over time
this type
of paper yellows and becomes very brittle as the fibers break down. The
most
durable artworks use more expensive acid-free papers. Before purchasing
a work
on paper (pen and ink, watercolor, photograph, print) confirm that it
is of
archival quality.
Water
It
probably goes without saying that artworks not
intended to get wet will not react well with water. Moisture, including
high
humidity, can cause mold to form on canvas, paper or cloth, discoloring
and
weakening the artwork. Wood exposed to high humidity can rot. Water
will cause
watercolors and pastels to “bleed” and run. Unless
an artwork is intended to be
displayed out of doors, or to be in direct contact with water (e.g.,
Chihuly
glass spheres floating in fish ponds), art lasts longest in dry
conditions.
CLEANING
AN ARTWORK
Yes,
over time artworks will collect dust and
grime just like a window sill or a piece of furniture. Cleaning an
artwork
should be done with care. For metal, stone, or ceramic sculptures use a
soft
cloth that has been moistened with distilled water. For fiber pieces or
paintings, use a soft brush to remove dust from the surface no more
than once a
year; do not be overly aggressive. Never "dry clean" a fiber piece,
such as an art quilt. For
artwork under glass, never spray glass
cleaner directly on the glass, it can run underneath and be
“wicked” up into
the medium (paper, canvas), discoloring it. Spray a small amount of
glass
cleaner onto a clean, lint free cloth and gently clean the glass. Never
use paper towels as all paper contains
clay which can scratch glass or acrylic sheets.