In a sunny courtyard at the Getty Center, books, papers, photographs, and drawings took a dip in plastic tubs of water and waited to be rescued.
The material was triaged as if it were a real emergency, except instead of EMTs, there were art conservators, and instead of ambulances, there were rolls of paper towels and clotheslines. It wasn’t a real disaster, but for the sake of learning, everyone pretended that it was. Each sopping wet item, whether it was a decades-old copy of Organic Chemistry or a yellowed newspaper clipping, served as practice matter for discovering how to dry wet art.
Just as Getty is equipped to cope with natural disasters like earthquakes and fires, it also needs a game plan in case water ever comes into contact with books, works on paper, photographs, and other ephemera—even though this type of damage is very unlikely to occur at Getty.
Last fall, the Getty Research Institute (GRI) hosted the Wet Collections Salvage Workshop, in which librarians, conservators, and curators from around Getty gathered to learn practical methods for triaging and drying different types of material. At Getty, learnings about conservation and protecting archival materials are made available whenever possible to help others in the field.
While Getty already has robust safety systems in place that should protect its collections from any water-related crisis, the workshop was an important exercise in “trying to understand what the risks are, how to mitigate them, and how to be prepared to respond to emergencies,” said Rachel Rivenc, head of conservation and preservation at the GRI.
Learning the Basics
Before the event, staff donated any material they didn’t mind getting wet, like old books, letters, posters, drawings, and photographs, with additional sacrificial stuff bought on eBay. To kick off the workshop, participants gathered for a lecture by Julie Page of the California State Library’s California Preservation Program to review scenarios that could result in water damage (for example, a minor flood, firefighting activity, or a pipe leak) and to learn how to prepare for and mitigate risks. Even though art at Getty is already well protected from the elements and these scenarios aren’t anticipated, it’s still prudent to be ready.
A robust emergency preparedness plan includes many different aspects, including having well-established chains of response and communication channels, emergency procedures, and supplies that are in place and easily accessible. At the workshop, Getty emergency specialists and GRI conservators reviewed the Getty preparedness plan. Participants then discussed water damage scenarios and different drying techniques for water damaged books and other paper-based matter.
Depending on the situation, the scale of the damage, and the resources available, techniques may include air drying in a cool, low-humidity space and using fans; installing commercial dehumidifiers in the impacted space; or freezing the material until it can be dried with vacuum freeze drying.
In an emergency situation, doing “almost anything is better than nothing,” Rivenc said, because some materials are really water sensitive and can be lost, and mold can grow quickly. However, she added, “Not all techniques are suitable for all materials: some photographic processes should not be frozen, for example.” This is why conservators often oversee salvage operations. Other factors, such as speed, cost, scale, and any potential side effects, should also be weighed.
Choosing the best drying method also depends on the type of art that’s been damaged, the extent of the harm, and the resources available to repair it. For example, if multiple books get wet, it may be better to freeze them all at once to prevent mold from developing, allowing time to address the damage later.
“When we prioritize collections, it also depends on their sensitivity,” Rivenc added. “For example, with some types of media, if they spend more than six hours in water, they could be too far gone, so there’s no point in rushing to them.”
Staff also learned the chain of response in case of a water-related emergency, including what their roles would be and where they would bring damaged items for repair.
Getting Wet (and Dry)
After the lecture, the group headed outside, where books and papers that had been soaking in bins of water since earlier that morning awaited them. Participants gently lifted the objects out of the water and laid them on long tables, then got to work practicing different ways to air-dry them. Colorful drawings swayed in the breeze as they were hung up to dry, while rows of papers sunned themselves on paper towels. It was all in the name of experimenting and observing the effectiveness of each method and learning the most successful techniques.
Participants stood books up on tables and spread the pages apart to allow air to pass through them.
They tucked paper towels between the pages to absorb moisture.
They experimented with items such as photographs and ephemera on clotheslines.
And they laid delicate items flat on absorbent paper.
“It was really interesting to see how people responded to being in a simulated ‘emergency.’ For some people it was a very stressful situation already, and others were very calm and methodical,” Rivenc said.
By the end of the workshop, participants gathered some experience they’ll hopefully never need—but that will be invaluable if any water damage does occur.
“It is the whole point of preparedness in a nutshell: gathering experience, wisdom, and knowledge that one hopes they will never have to use!” Rivenc said.
If You Get Water Damage at Home
What if your own photos, books, or other important pieces encounter a wayward glass of water or a leak during a rainstorm? Depending on the type of material and media affected, you may be able to salvage the work. Before attempting any methods, check out these resources from the Western Association for Art Conservators and the National Park Service that list how each type of material should be dried and any precautions to keep in mind.
For example, books should be packed spine down in a milk crate or cardboard box and air- or freeze-dried. Framed prints and drawings should be removed from their frames, then air- or freeze-dried. When handling wet works on paper that feature soluble inks, such as those from felt, colored, or ballpoint pens, do not blot.
“And if your treasured items have suffered extensive damage,” Rivenc added, “call a conservator!”
