Preserving Jewellery Created from Plastics and Rubber: Application of Materials and Interpretation of Objects

The adoption of plastics and rubber to artist jewellers’ repertoire of materials in the late 1960s marks a significant and permanent alteration to the artist jewellery discipline. Since this time the physical and conceptual possibilities of plastics have fuelled and enabled developments in this artistic field. Since the early 1970s museums and private collections have continually acquired artist jewellery created from plastic. Some of these artworks are now exhibiting change or deterioration. Discussion and debate regarding their preservation is a pressing need. To date, whilst there has been recent research into the deterioration of plastic materials found in cultural heritage, almost no published work or debate has addressed artist jewellery specifically. This research positions plastic artist jewellery within the expanding discipline of modern materials conservation and aims to raise awareness of preserving plastic jewellery artworks. The prevalent plastics in use for artist jewellery, their properties and importantly application, to create artistic intent, are identified. Current attitudes of custodians and artists towards preservation, which has a bearing on the past and future prospects of the artworks, are analysed. Despite not having articulated their opinion previously, many jewellery artists have considered the long term prospects of their work as part of their artistic practice. As change and deterioration of the artworks is inevitable the impact of change to jewellery artworks is considered. Understanding how material properties are applied to create intent, as identified, is essential to comprehend meaning and any alterations as a result of change. Finally, having deliberately drawn artists into the preservation debate the nature of their input is considered. Should jewellery artists intervene in their own work when treatment is required? The research is from a humanities rather than scientific perspective and is concerned with objects and their interpretation in the context of preservation. The artworks are the starting point and their context as jewellery objects is the primary concern. Oral testimony of artists is also crucial to draw the artists into the preservation process as stakeholders and because jewellery artists are hitherto unrecorded in this context. What is demonstrated throughout the thesis is that the wearable function of jewellery has a bearing on their perception and interpretation as objects

Raman microspectroscopy interrogating 19th and 20th century painted trades union banners

We have previously developed protocols for the application of Raman microspectroscopy to studies on painted textiles. We have further assessed the value of such microanalyses in the identification of both inorganic and organic constituents, including original components and consolidants used in conservation treatments. This paper presents the results of a recent study on a number of 19th- and 20th-century trades union banners directed at collating a spectral database of inorganic pigments used in the illustrations and at probing the preparative process prior to painting. Such information will contribute to an understanding of the manufacture of such banners and their current condition, leading to the development of optimum conservation procedures.While Raman spectroscopy has the potential to be used in situ and, with the appropriate protocol, is non-destructive, nonetheless we have found that the analysis of resin-embedded cross-sections is to be preferred with microtoming providing the cleanest sample surface. The optimum methodology for acquiring good quality Raman spectra is described including operation in the confocal mode, with consideration of fluorescence, interference from resin, laser-induced photochemistry, and so on

Patina or impairment: interpreting surface changes to contemporary plastic jewellery

The existence of patina, or surface change on objects that accrues over time, is widely accepted within the conservation profession. Aesthetically patina is most often regarded as a positive addition to objects and is described using terms such as ‘beautiful’ and ‘maturing’. Jewellery created from plastic inevitably suffers surface changes particularly scratches, chips, loss of colour and surface whitening, which have similarly amassed over time. Whilst jewellery constructed from conventional precious materials is regarded by curators and conservators as capable of acquiring patina, plastic artist jewellery, to date, is not. Instead they are frequently considered as damaged and marred.When considering the preservation of plastic jewellery, therefore, the following question arises. If traditional jewellery can acquire patina then why consider plastic jewellery in a different frame of mind? By considering the occurrence of and attitudes towards patina on both jewellery and plastic objects, the paper will propose the existence of patina on plastic jewellery. Views of artists will be considered alongside those of curators and conservators to offer terms of reference that can distinguish patina from other types of damage encountered in contemporary plastic jewellery. As a result the ageing and deterioration processes of these artefacts can be better interpreted and understood

Understanding the full story: acknowledging intimate interactions of textiles and text as both help and hindrance for preservation

Frequently text or words make up documentary evidence attached to textiles as labels, letters or documents either as part of the function and manufacture of the original or as later additions that are of notable relevance. Today, it is accepted wisdom that conservators, in their treatment strategies, take into account the written components, in addition to the textile, because they embody history, context or significance that contributes to the veracity and comprehension of the textile. The paper high lights the paradox that, in some cases, the existence of the text element in a textile can actually accelerate its deterioration. Moreover embracing the text in treatment proposals can preclude complete stabilisation and limit treatment choices of the textile

Increasing the profile and influence of conservation—an unexpected benefit of risk assessments

Risk assessment prior to treatments, exhibitions or loans is vital to conservation, allowing potential problems to be identified and mitigated. After recent work on British Library ‘Treasures’, including the Magna Carta and the Lindisfarne Gospels, it became apparent that these assessments also served to significantly raise the profile and influence of the Conservation Department within the institution. By presenting risks in a clear, impartial and unambiguous manner, concerns held by conservators can be readily explained to other stakeholders, and this proved invaluable when promoting outcomes not in accordance with their initial aims or requirements. Furthermore this approach allows complex arguments based on specialist knowledge and experience to be clearly conveyed to non-specialists, emphasising the importance of the conservator’s expertise. The risk assessment models developed as a result are now used widely across the Library, cementing the role of conservation as central to the functioning of the institution

Can an artist create permanence from transience? the Schmuck Quickies of Yuka Oyama become durable

Japanese born jewellery artist Yuka Oyama is best known for her Schmuck Quickies performances, literally translated to ‘Quick Jewellery’, in which audience members become participants as she creates spontaneous pieces of jewellery for each of them. The objects created through this performance are, of their nature, ephemeral, and fall outside the context of art historical study from the moment that the performance ends. During a recent residency at the Middlesbrough Institute of Modern Art, Oyama used the experiences and materials recovered from the Schmuck Quickies performances to develop a series of studio pieces, made as a limited edition series. This development has shifted the context through which Oyama’s work can be interpreted and places them within the reach of the private and institutional collector. The study unveils how an artist has considered the legacy of her work in the public domain and has modified her techniques and conceptual framework in an endeavour to create more durable art works for the future. As conservation also now becomes an issue, curatorial and conservation expertise must negotiate a practise to evaluate the best course of preservation for the works.<br/