Anon., Papierformat. http://de.wikipedia.org/w/index.php?title=Papierformat&oldid=115108995 (accessed 11.3.2013).
Fairbrass, S.: The problems of large works of art on paper. The Paper Conservator 10 (1986): 3–9.Google Scholar
Garside, P., Lovett, D.: Polyurethane foam: Investigating the physical and chemical consequences of degradation. In: The Future of the Twentieth Century: Collecting, Interpreting and Conserving Modern Materials. C. Rogerson, P. Garside (eds), AHRC Research Centre for Textile Conservation & Textiles Studies, Second Annual Conference. Textile Conservation Centre, London, 26–28 July 2005. London: Archetype Publications, 2005: 77–83.Google Scholar
Hatchfield, P. B.: Pollutants in the Museum Environment. Practical Strategies for Problem Solving In Design, Exhibition And Storage. London: Archetype Publications, 2002.Google Scholar
Quye, A., Williamson, C.: Plastics: collecting and conserving. Edinburgh: National Museums of Scotland, 1999.Google Scholar
Townshend, P.: Problems with screenprints. In: Modern Works – Modern Problems, Conference Papers. London: The Institute of Paper Conservation, 1994: 9–12.Google Scholar
Waentig, F.: Plastics in Art. Petersberg: Imhof, 2008.Google Scholar
Williams, R. S.: Care of plastics: Malignant plastics. WAAC Newsletter 24, 1 (2002). http://cool.conservation-us.org/waac/wn/wn24/wn24-1/wn24-102.html (accessed 18.4.2013).
About the article
Nora Velensek obtained her diploma in paper conservation at the state Academy of Art and Design in Stuttgart (Germany) in 2013. The presented study was part of her diploma thesis. Since 2013, she is employed as a paper conservator at the German Literature Archive Marbach.
Fabienne Meyer obtained her diploma in paper conservation at the state Academy of Art and Design in Stuttgart in 2005. Between 2005 and 2008 she was employed as a paper conservator at the Saarlandmuseum Saarbrücken. After working as a conservator at the Authority for Culture and Heritage (ADACH) in Abu Dhabi from 2008 to 2009, she became head of the conservation project “Schinkel’s Legacy” at the Kupferstichkabinett, Staatliche Museen zu Berlin. Since 2012, she is employed as a conservator for modern and contemporary art on paper at the Kupferstichkabinett Berlin.
Eva Hummert graduated from the Studiengang Konservierung und Restaurierung von Graphik, Archiv- und Bibliotheksgut at the Staatliche Akademie der Bildenden Künste in Stuttgart in 2007 and was acting head of the paper conservation lab of the programme until 2014. She was a scientific research assistant in a 2-year project headed by Dr. Andrea Pataki-Hundt about optimizing the consolidation with aerosols and examining the adhesive properties during consolidation. She obtained her Ph.D. in 2014 investigating the penetration behaviour of misted aqueous adhesives.
Irene Brückle is professor and director of the Studiengang Konservierung und Restaurierung von Graphik, Archiv- und Bibliotheksgut at the Staatliche Akademie der Bildenden Künste in Stuttgart since 2008. Between 1990 and 2004, she taught at the Art Conservation Department, Buffalo State College and became professor in 1992. She holds an M.A. in art history from the University at Buffalo and a Ph.D. in art technology/art history from the Staatliche Akademie Stuttgart. From 2005 until 2008, she was head of conservation at the Kupferstichkabinett, Staatliche Museen zu Berlin.
Published Online: 2014-09-30
Published in Print: 2014-09-24