The Vertical Horizons experiment represents an initial investigation into the transportation of fine arts materials aboard a space shuttle. Within the confines of a GAS canister, artist quality fine arts materials were packaged and exposed to the rigors of space flight in an attempt to identify adverse effects

Kurtz, Ellery

Wishnow, Howard

English

NASA Technical Reports Server

N89-10919
The Transportation of Fine Arts Materials
Aboard the Space Shuttle Columbia
G.A.S. Payload #481
VERTICAL HORIZONS
Ellery Kurtz and Howard Wishnow
ABSTRACT
The Vertical _brizons experiment represents an initial investigation into
the transportation of fine arts materials aboard a Space Shuttle. Within the
confines of a G.A.S. canister, artist quality fine arts materials were packaged
and exposed to the rigors of space flight in an attempt to identify adverse
effects.
INTRODUCTION
Currently, little experimentation is being done in assessing the hazards
of transporting fine arts materials aboard a Space Shuttle. This initial experi-
ment will provide a foundation upon which additional data may be compiled in order
to safely transport objects of visual art into space.
Contained inside our G.A.S. canister (see Figure i) were samples of linen
canvas in three states: raw, primed and painted, which were concentrically rolled
in polyurethene foam. On the painted portions of the experimental samples we
chose to create actual paintings with a wide variety of pigments rather than
patches and painted strips in order to exen_lify the type of artistic materials
which may be used in future space environments. In the center of the canister
we installed a Tattletale _M Thermograph, furnished by the Onset Cc_puter Corpora-
tion. This instrument was intended to record temperature changes inside the G.A.S.
canister at hourly intervals. Throughout the mission, pressure in the canister
was maintained at one atmosphere.
Our intention was to identify any accelerated degradation in the experimental
samples caused by the ct_nulative effects of vibration, temperature change, zero
gravity and G-force stress resulting from Space Shuttle flight.
PROCEDURE
The following is a list of materials selected for use in this experiment:
A. Three 16 x 12 inch samples of unprimed Belgian linen (UP1)
B. Three 16 x 12 inch samples of single-primed Belgian linen (SPI)
C. Three 16 x 12 inch samples of double-primed linen (DPI)
D. Three 19 x 15 inch sanloles of single-primed Belgian linen painted
with oil colors (SPPI)
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TOP _ Experimental
////___ Sam pies
(spaced 10" apart)
Thermograph
Layers of
Polyurethane
VERTICAL
CROSS
SECTION
NASA Interface
Thermograph
G.A.S. Canister
G.A.S. Payload1//481
VerticalHorizons
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E. Three 19 x 15 inch samples of double-primed Belgian linen painted
with oil colors (DPPI)
F. TattletaleqM Thermograph: 2 inch diameter x 9 inch length, powered
by 4 AA alkaline cells
G. One roll of polyurethene packing foam
Prior to containment in the G.A.S. canister, oil colors were applied with
traditional artist methods to the 19 x 15 inch samples of single-primed and double-
primed canvases. These samples were examined by the conservation department of
the Julius Lowy Frame and Restoring Con_pany, Inc. in New York City. The following
examinations were performed:
A. Visual
B. X-ray
C. Ultraviolet
D. Solvent tests with acetone and toulene
Upon completion of the examinations, a random selection process was under-
taken to determine which samples would be placed into the G.A.S. canister and
which samples would remain on Earth as controls. The samples were marked and
recorded. The samples selected for placement aboard the Space Shuttle were con-
centrically rolled between layers of polyurethene foam. The materials were placed
in the G.A.S. canister for transportation to the Kennedy Space Center. Upon
arrival at K.S.C. the experimental samples were removed from the shipping canister
and placed into a 5 cubic foot G.A.S. flight canister. The thermograph was in-
serted into the center of the concentrically rolled polyurethene foam. The
canister was sealed and purged with dry air. The canister was placed onboard
the Space Shuttle Coltmlbia for flight STS-61C. The mission lasted just over six
(6) days, at which time the canister was returned to K.S.C. from the Edwards Air
Force Base.
Upon recovery of the G.A.S. canister fr_n K.S.C., the experimental sanples
were removed and subjected to re-examination using the previously noted methods.
_S_TS
Following examination and testing of the experimental and control sanloles
(see condition reports), a ccrmparison of the test results demonstrated the
following:
A.
B.
C.
The linen and painted surfaces showed no signs of oxidation. *
The surfaces showed no acc_nulation of foreign substances.
The surface layers were fully intact with no evidence of cracking,*
or flaking* of the pignents.
D. There was no sign of cupping* or cleavage. *
Teml0erature changes within the G.A.S. canister were not recorded due to an
error in the programming of the thermograph.
_N_USI_S
When fine arts materials are transported in the method adhered to in this
experiment, no sign of degradation is apparent. We may therefore conclude that
materials of the fine arts can be transported for limited periods of time into
space and returned safely.
*refer to Glossary for definitions
115
PLANNING
Mankind has migrated to and colonized most of the habitable land mass on
Earth and wherever he has chosen to live, he has brought art with him or created
it anew. Our research represents a first step in the safe transportation of art
into man' s newest frontier, Space.
Taking this into consideration, future experiments may focus their examina-
tions on the following:
A. The effects of long duration flights.
B. Exposure of the materials directly to the space environment.
C. Transportation of other cultural items (i.e., sculpture and mixed
media).
D. Development and transportation of materials to be used in creating
new items of cultural value in space.
We fervently hope that projects such as ours will inspire a global conscious-
ness and demonstrate that the peaceful use of space is essential if we are to
make space exploration a productive venture for mankind.
ACKN_S
Vertical Horizons gratefully acknowledges the assistance and generosity of
Winsor and Newton, Inc., Seacaucus, N.J., Onset Computer Corporation, N. Falmouth,
MA., Julius Lowy Frame and Restoring Company, Inc., N.Y. and the National
Aeronautics Space Administration without whose technical assistance this project
could not have happened.
A special thanks to Lanie Kurtz, to whom we are gratefully indebted for her
invaluable assistance and creative insight.
GLOSSARY
I. Abrasion:
2. Cleavage:
3. Cracking:
"Pictures are subject to all kinds of abrasions... Scratches occur
most frequently when the picture is being transported. A single
scratch on a precisely gradated painting can be disastrous."
"A painting develops cleavage when the support contracts resulting
in the loss of bond between the ground and support or laminated
layers of the paint. Cleavage or buckling is not always visible
in the early stages. The loss of adhesion may at first appear
as a slightly inflated air pocket rising frcmthe paint surface."
"Some (paintings) develop cracks more quickly than others depend-
ing upon the soundness of construction and the judicious choice
ofmaterial. Prolonged movement, instability of the support or
inadvertant pressures cause disfiguration... Changes of tempera-
ture and environment can cause the support to expand and contract
producing cracks that penetrate through the ground to the paint...
Allowed to continue, the stress of movement produces a widening
of the cracks and further splitting."
116
4. Cupping: "A curling or cupping of the paint may acccmpanythe cleavage as
a result of further stress in the support. Intersecting cracks
form small islands in the paint film and the loss of adhesion
causes the paint to curl upwards."
5. Flaking: "The movement and stresses of the support are instrumental in
cracking and cleavage of the layers, causing the paint to lose
bond and beccme detached. This condition is called flaking."
6. Oxidation: "Oxidative breakdown of the paintmedit_n leads to weight loss and
this has been used to measure the rate of oxidation which is
normally associated with cracking due to the erosion of the (paint)
film surface."
Reference: Kelly, Francis, Art Restoration: A Guide to the Care and Preservation
of Works of Art, McGraw-Hill Book Company, New York (1972).
117
CONDITION REPORT #I Sample #'s Control and Exp. Sanples (UP1)
(SPI)
(DPI)
Date: 4/14/87
Artist: Size in inches: 16 x 12
Medit_n: Unpainted Canvas Size in cm. : 40.6 x 30.5
Surface Coating: Varnished X Unvarnished
Paint film: Meditln is characteristic of no paint film
Conditions:
No Discoloration: fading, yellowing, blanching, grime, darkening, dirt
No Cleavage: flat cleavage, buckled or cupped
No Embrittlement: flaking, chipping, paint of ground loss
No Cracking: paint and/or ground cracking
No Damages: abrasions, punctures, tears, dents
_Additional observations:
Yes Condition sound
Support:
Canvas: Belgian linen in various states of preparation
X Observations of condition: Excellent
Examinations performed:
X Visual
X Ultra-violet light
x X-rays
Solvent tests:
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CONDITION REPORT #4 Sample #'s Control and Exp. Samples (SPPI)
(DPPI)
Date: 4/24/87
Artist: Ellery Kurtz Size in inches: 19 x 15
Medium: Oil on linen canvas Size in cm. : 48.3 x 38.1
Surface Coating: Varnished X Unvarnished
Paint film: Medium is characteristic of oil paints
Conditions:
No Discoloration: fading, yellowing, blanching, grime, darkening, dirt
No Cleavage: flat cleavage, buckled or cupped
No _nbrittlement: flaking, chipping, paint of ground loss
No Cracking: paint and/or ground cracking
No Damages: abrasions, punctures, tears, dents
--Additional observations: No sign of oxidation
Yes Condition sound
Support:
Canvas: Belgian linen with single and double coat of alkyd priming
Observations of condition: Excellent
Examinations performed:
X Visual
X Ultra-violet light
X X-rays
X Solvent tests: Toulene and acetone
119



The transportation of fine arts materials aboard the space shuttle Columbia. GAS payload No. 481: Vertical horizons

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