The Wayward paper object: Artist's intent, technical analysis, and treatment of a 1966 Robert Rauschenberg diptych

Conservators usually consider pressure-sensitive tapes to be unwanted addit ions to works of art. Yet, when regarded as components of an artwork, these heretofore quotidian "Band-Aids" can provide an unusual treatment challeng e, that is, to preserve the "postmodern artifact." This article discusses a rtistic intent and the conservation of pressure sensitive tapes in fine art . A mixed-media diptych by Robert Rauschenberg dating from the mid-1960s fe atures a paper magazine clipping adhered to a primed canvas support with st rips of transparent pressure sensitive tape. Prior to treatment, the tape's rubber based adhesive was discolored and failing, its carrier was noticeab ly brittle and misshapen, and the tape-and-paper assembly was detaching fro m the primed canvas, compromising both its safety and the integrity of the diptych. Examination and treatment of the work were performed at the Conser vation Center, Institute of Fine Arts, New York University. The artist and his staff were consulted in his New York City studio offices in November 19 93. The transparent tape carrier was determined by pyrolysis-gas chromatogr aphy to be cellophane-a film material formed of regenerated cellulose-and t reatment protocols were developed. Mock-ups were prepared to aid in selecti on of the appropriate adhesive system for the reattachment of the aged tape to the original primed canvas support. This article reports the outcome of the treatment as guided by the wishes of the artist and the results of the study.