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Bark paintings represent a unique artform that originated in Australia and continues to this day. This paper presents a scientific investigation into both the pigments and binders used by Aboriginal artists from across the Northern Territory (NT) and the Kimberley region in Western Australia (WA) and represents the first major study dedicated to identifying these materials in samples taken from paintings. Laser ablation-inductively coupled plasma-mass spectrometry (LA-ICP-MS), Fourier transform infrared (FTIR) and Raman spectroscopy were used to identify the pigments in the four colors commonly associated with works by Aboriginal artists: red, yellow, black, and white. Iron oxides are used for red and yellow. Typically, kaolin is used for white and carbon or natural manganese ores are used for black, although the use of other pigments such as huntite (white) and battery black were seen in paintings from specific locations. Evidence of trade could not be established during this study; however, analysis shows that artists may use different pigments based on location and availability. A combination of FTIR and pyrolysis-gas chromatography-mass spectrometry (pyrolysis-GC-MS) was utilized to investigate the presence of a binder in the paint. Plant-based materials were identified as the binder in the majority of the paintings. The use of orchid juice was common, both as a preparatory layer on the bark substrate and as a paint binder. The presence of synthetic resins was more widespread than anticipated, attributed to both conservation efforts and more modern painting practices. [ABSTRACT FROM AUTHOR]

Works of art made of plasticized poly(vinyl chloride) (PVC) present unique and pressing conservation challenges. Due to inherently unstable formulations, PVC can deteriorate rapidly, producing dramatic alterations that were unanticipated by artists and collectors. This is the case for three works by Joseph Beuys with PVC components in the Harvard Art Museums' collection: Phosphorus-Cross Sled, Postcards 1968–1974, and Stamp Sculpture. Over the course of the last two decades, exudation of liquid plasticizer and progressive discoloration of the PVC was observed and appeared to be worsening with time. This paper presents the results of research undertaken since 2012 to develop storage and display guidelines that will slow the deterioration and improve the accessibility of these works. The three objects under study are all multiples, meaning that they were released in editions, which are now dispersed across numerous museums and private collections. Analysis using gas chromatography-mass spectrometry (GC-MS, with and without pyrolysis) and scanning electron microscopy with energy dispersive X-ray (SEM-EDX) spectroscopy has identified variability in the PVC formulation and exudate across different multiples, suggesting that they may derive from different manufacturing batches. Experimental testing of PVC material from Beuys's studio has shown that sealed Mylar enclosures and storage at temperatures between 4.4 and 12.8 °C are effective in slowing the migration of plasticizer to the surface. After implementing these changes to the housing and storage of the PVC postcard from Postcards 1968–1974, reabsorption of plasticizer exudate was observed, demonstrating that reversal of the plasticizer migration is possible under these conditions. [ABSTRACT FROM AUTHOR]

Albert Moore, a leader of the British Aesthetic movement, left few written records. Unlike many of his contemporaries, most notably his friend James McNeill Whistler, he delivered no lectures about his artistic philosophies and praxes. This article provides evidence of Moore's intricate working processes identified through examination of his Study for "Blossoms" (c. 1881), an oil study in the collection of the Harvard Art Museums. Technical imaging and scientific analysis were employed to document the artist's laborious multi-step painting practice. This piece enumerates Moore's methodological process, examined alongside his commercial practice, and explores the socio-historical context surrounding the finishing and sale of his oil studies. These findings enabled the identification of eighteen discrete steps that Moore undertook each time he completed a large-scale oil painting, a practice believed to be among the most elaborate of the Victorian era. [ABSTRACT FROM AUTHOR]