Evaluating the Light Stability of the Face-mounted Photograph Collection at The Hirshhorn Museum
Channel: AIC & FAIC
Date: 19/08/2016

By Shannon Brogdon-Grantham, Stephanie Lussier, Dr. Molly McGath, Smithsonian Institution Hirshhorn Museum and Sculpture Garden
From the Plastics Associated with Photographic Materials symposium

Abstract: Face-mounted photographs have presented handling, storage, exhibition, and treatment challenges for conservators and collections care specialists since their inception. This technique for mounting photographs was patented under the name Diasec® in 1971 by Heinz Sovilla-Brulhart and it has become increasingly popular since its commercial release. These types of photographs possess a complex laminate structure and it is understood that each component of their structure, as well as the way these materials interact, can impact the longterm stability of the photographic image. Despite this knowledge, well-defined display and storage guidelines based on the light sensitivity of these composite materials have not been developed.

There are several published studies on the light stability of face-mounted and laminated color photographs using accelerated light fading tests (Pénichon et al 2002, Zorn et al 2011). Both studies also undertook additional analysis to determine the impact of other components (e.g. adhesives and sealants) on the stability of the photographic image material. The results of these studies suggest that all components have an impact on the light stability of the photographic print and indicate more research is necessary to determine the parameters for which these materials should be exhibited and stored.

The talk presents research carried out during a 2015-16 Smithsonian Postgraduate Fellowship in the Conservation of Museum Collections at the Hirshhorn Museum and Sculpture Garden. Since the project is in-progress, results to-date will be presented. The focus of the research is to better understand the overall light stability of the Museum’s collection of color and face-mounted photographs to guide exhibition practices. The primary research activities include a microfade testing (MFT) study to determine the light stability of the color and facemounted photographs in the collection and a selective object-level survey. The ultimate goal of the primary research is the development of general guidelines for exhibition and storage, based on the results of MFT, colorimetry, and other applicable analytical techniques to analyze the composition of face-mounting adhesives and sealants. Along with the primary research goal of developing exhibition and storage guidelines, the results of this study will further elucidate any potential interactions affecting the photographs’ light stability. Collaboration with conservation scientists at the Smithsonian Institution Museum Conservation Institute (MCI), National Gallery
of Art (NGA), and external consultation with other individuals in the field who have conducted similar studies is an essential part of the project.

This present study was conducted on analogue and digital photographic and print processes and since none of the aforementioned studies were conducted on digitally output facemounted photographs, analysis on these materials is a novel area of inquiry. In order to have known comparisons for analysis, representative test samples of both types of processes were created. Additionally, in keeping with the Hirshhorn Museum’s artist-interview tradition, the project aimed to inform collections knowledge by interviewing select artists on their working practice, and material choices, relative to display preferences and long-term preservation issues.

This research seeks to inform the conservation community on the use of MFT on color and facemounted photographs and will contribute to the existing scholarship surrounding the care and conservation of these types of materials.

Speaker bio: Shannon A. Brogdon-Grantham is a Postgraduate Fellow in Photograph Conservation at the Hirshhorn Museum and Sculpture Garden. She is a recent graduate of the Winterthur /University of Delaware Program in Art Conservation. She has held internships at the Center for Creative Photography, Paul Messier, LLC Conservation of Photographs and Works on Paper, and the Smithsonian National Museum of the American Indian.