Placing monuments in the open air as memorials and reminders of people and events past has been an obsession of Americans since the nineteenth century. We have celebrated and commemorated our loved ones and heroes, dedicated images to our leaders and created artworks to celebrate our ideals. But after dedication ceremonies have passed, few people recognize further responsibility toward the care of these sculptures.
The realization of decay in outdoor monuments of stone and metal has dawned on us slowly. While an accelerated rate of corrosion of bronze statues was documented in Europe, as early as 1913, the focus of conservators and caretakers of outdoor collections in the United States only began in the 1970s. Since then, great strides have been made to define the causes of deterioration of outdoor sculpture. Methods to reverse the deterioration have been developed and sculptures are being treated to stabilize them against the effects of weathering.
Fortunately, we do not have to accept the reversal of conditions in new or recently treated outdoor sculpture. Weathering may be inevitable; outdoor conditions are extreme. But the effect of weather on outdoor sculpture can be slowed significantly. Loss of our national treasures can be mitigated by timely, careful maintenance.
Transformations from corroded metal to cleaned and patinated sculpture can be truly dramatic. The flurry of activity involved in a conservation project, from fund raising to the final treatment, can be quite exciting. But, all too often, the sculptures are left outdoors and they begin the slide, again, to a corroded, weathered and stained appearance. If sculpture is maintained regularly and properly, most observers will conclude little, if any, change has taken place, and that the artwork is aging with natural grace. Nothing, however, could be further from the truth.
Annual deposits of soil from airborne circulation are enough to support the growth of fungal cells on porous stone sculpture. Once begun, the roots (mycelium) of such growth penetrate the stone, beginning a cycle of deterioration by staining the sculpture with products of soil digestion that, if left untreated, complete the cycle with destruction of the stone itself. Scientifically, the process is a natural one, the means by which the earth recycles stone to soil. As individuals appreciative of stone artwork and memorials, we find ourselves at cross purposes with this natural event. It is a process better interrupted at beginning stages, before significant damage is done.
Similarly, the corrosion of metals has been observed by all of us. We may not be aware that the rate of pitting corrosion is accelerated when protective coatings break down, which allows moist air to contact exposed metal. Until it was brought to our attention, few of us realized the extent to which bronze sculpture can be disfigured by the corrosive work of acid rainwater runoff.
We have grappled with the question of whether or not to bring artworks indoors. It might be nice, but it is often not practical, or necessary. Regular, correct maintenance will add significant years to the life of outdoor sculpture. Conversely, a decade without maintenance is often all that is needed to return a sculpture to poor condition. Maintenance of sculpture is the key to slowing the ravages of weather. Maintenance requires cleaning to remove acid particulates from air pollution and settled soil from airborne dust, periodic renewal of coatings on metals and a watchful eye for structural changes. Conservators involved with maintenance programs can keep outdoor collections clean, stable and presentable for public appreciation if they conduct maintenance every spring.
Conservators are trained and experienced professionals who should be involved in both design and implementation of maintenance programs. Maintenance schedules are not static, though we like to keep the tasks concise. Cleaning with the wrong material or using proper materials in a poor manner can damage sculpture irreversibly. We have seen the effects of chlorinate household cleaners on marble and it is not a pretty sight! Maintenance programs are hands-on manual labor. Work involves the use of chemicals and heavy equipment. Timely intervention however, is the key to preserving works. If budgets are set aside for annual maintenance, the rapid deterioration of outdoor sculpture might be halted. Involvement of a trained, experience conservator is the key.
Finding qualified conservators to assist in an outdoor sculpture maintenance program is the secret to success. Conservators are trained in chemistry, art history and studio art. Art conservation teaches them to integrate these three fields of endeavor, and offers practical experience. The result is treatment and maintenance of sculpture over the short- and long-term, with the plan to perpetuate the original intent of the artist who created the monument.
Ideally, starting a maintenance program should take place when a conservation treatment is completed. When that does not happen, persons interested in developing a maintenance program should search for a qualified conservator. Professional standards in conservation have bee established by the American Institute for Conservation (AIC). A referral list of conservators who specialize in sculpture can be obtained through the Foundation of the AIC (FAIC), at 202/452 9545. Potential conservation contractors should be willing to discuss their approach t preservation methods and to work with the client to develop a program of care that is consistent with the goals of their governing body -- whether a city, neighborhood association, private company, or university. Maintenance of outdoor sculpture then becomes a team effort, with participation from owners/administrators, conservators and volunteers or trained technicians. Success in maintaining collections depends on open lines of communication and commitment to long-term, continued care.
Mayda Jensen earned her M.S. in Conservation of Historic and Artistic Objects from the University of Delaware, Newark, Delaware, and the H. F. Dupont Winterthur Museum, Winterthur, Delaware. She has operated her own conservation firm since 1981, called the Jensen Foundation for Art Conservation Education & Research, in Omaha, NE., which specializes in stone and metal objects.
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