I didn’t actually go there, but… So I was fascinated to realize that there was this world where my research was relevant, that I’d never really thought of before. Then, a few months later, a museum in England got hold of the same articles and we exchanged letters. So, and it made a huge impression on me at the time and so I was sucked in there and then. I had my own personal tour of the museum and the backrooms where they looked at things and so on.
Milky just the way you are cracked#
And so I went in after hours, and I talked to their one technical person at the time, and he was interested in the work I’d done and why and how paintings cracked and how other works of art are cracking and what might have caused that and all the rest of it. No, on the Pacific Coast Highway in Santa Monica. It was only in the Villa in those days on Santa Monica Boulevard. So I was in Canada, in Ontario, and I went down to the Getty.
And I published a handful of articles and then the Getty Museum got in contact with me and we exchanged letters in those days. That’s the evaporation of solvent and the cross-linking, densification, and all the rest of it and all these stresses tend to cause cracks and you see that they became brittle. And I was studying the internal stresses generated in coatings where they try and kill us. I was at the National Research Council in Canada as my second job actually, ever. I actually started my interest in art conservation and when I was about your age. I was much more interested in what I could see and how it worked and I suppose in that regard there was a natural sort of focus on material science and then polymer science became a natural part of that and coating sciences proved to be a natural part of that and a lot of artwork work is coatings and very similar materials.Įverything, my sort of scientific and interest inclinations, fit very well actually in many ways because a lot of the problems that appear are not only chemical related but they’re sort of physics and engineering related too. Although I had to study it, I was never interested in nuclear particle physics or quantum theory or anything like that. And in terms of how my background applies, I liked and studied physics because I was always interested in how the world around me worked-that’s the natural world as well as the technological world. There’s probably no linear connection between physics and art conservation at all. It seems to be what I’m probably best at in terms of the science and technology fields. Stuart Croll: Well, firstly I have to say that I studied physics because that’s the way my brain works. Croll, given your physics background, how did you first become interested in art conservation and how does your background in physics and polymers align with modern art conservation? Battocchi’s work with conserving metal sculptures.Īlison Rohly: Dr.
Croll’s work with conserving modern art and Dr. Today we join North Dakota State University’s Alison Rohly as she speaks with Drs. I’m Kevin Ammons with the National Park Service’s National Center for Preservation Technology and Training. Kevin Ammons: Welcome to the Preservation Technology Podcast, the show that brings you the people and projects that are bringing innovation to preservation.
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