By VASTA (Auth.)
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Additional info for Conservation & Exhibitions
Handled and prepared for exhibition in much the same way. However, outsize items, e . g . very large watercolours, prints or maps, need deeper frames to allow for the 'bowing' or distortion of the plastic glazing otherwise contact may occur between the plastic and the work itself. Such works also require more elaborate hinging or attachments to prevent slipping of the work in its mount. Unfixed pastels, and charcoal drawings, normally do not travel because of the danger of loss of pigment. Certainly they should not be framed under plexiglass or acrylic materials as the electrostatic charges developed, particularly during cleaning and dusting operations, can lift away p i g ment p a r t i c l e s .
This is in effect the major part of the 'preparation' procedure required for this type of art. Spare parts may be necessary for stand-by purposes in the event of m a l f u n c t i o n . According to fragility, and material, the component parts may have to be pre-wrapped and carefully identified before releasing to the packers. Highly polished surfaces are particularly vulnerable to scratches or corrosion formation and need special protection. This could be in the form of acrylic coatings, waxes, or vapour phase inhibitors .
Studies can be made in this manner of crack systems and establish changes, or enlargements of cracks at later intervals. Photographs can be taken to record for further study the sizes and distribution of cracks (otherwise known as craquelure). In the methods outlined above, the defects revealed are located and noted. While photography is the accepted way of recording condition, it is sometimes simpler to draw a diagram or sketch the condition as viewed in the particular lighting method. 2 Typical lighting arrangements for observing and photographing surface conditions.