An investigation into the structure and color stability of Polaroid 20×24 prints

Authors

  • Paulina Miąsik The Art Institute of Chicago
  • Sylvie Pénichon The Art Institute of Chicago
  • Clara Granzotto The Art Institute of Chicago
  • Ken Sutherland The Art Institute of Chicago

DOI:

https://doi.org/10.23738/CCSJ.170107

Keywords:

Instant Prints, Dye Diffusion, Polaroid 20×24, Polacolor, Microfading Testing, Light Stability, Polaroid Chocolate

Abstract

Polaroid 20×24 prints, renowned for their distinctive large format and use by artists, have received limited attention within the conservation community. This study, conducted at the Art Institute of Chicago, examines the materials, structure, and stability of different generations of Polaroid 20×24 film, including Polacolor ER (P3), Polacolor Pro 100 (P6), Polacolor 7 (P7), and hybrid Chocolate prints. Utilizing a combination of non-invasive and invasive analytical techniques, such as SEM-EDS and FTIR, the research characterizes these materials and investigates light stability through microfading testing (MFT). Comparative MFT analyses of various dye colors across generations revealed specific vulnerabilities. These findings contribute valuable insights into the material composition of Polaroid 20x24 prints and inform display and preservation strategies, ensuring the longevity of these culturally significant artworks.

Author Biographies

  • Paulina Miąsik, The Art Institute of Chicago

    is a current Mellon Conservation Fellow in the Conservation and Science Department at the Art Institute of Chicago. She holds a master's degree from the Faculty of Conservation and Restoration of Works of Arts of the Academy of Fine Arts in Warsaw, Poland, where she trained in the conservation and restoration of books, paper objects, and photographs. Her professional experience includes positions as a paper and photograph conservator at The Museum of Warsaw and The Central Military Library, Warsaw, as well as internships at the Museum of Photography in Krakow and at the Memorial and Museum Auschwitz-Birkenau German Nazi Concentration and Extermination Camp.

  • Sylvie Pénichon, The Art Institute of Chicago

    William E. Urschel Family Director of Paper, Photography and Media Conservation at the Art Institute of Chicago. She is the author of Twentieth-Century Color Photographs: Identification and Care (2013), a comprehensive guide to understanding color photographs. In 2024, she joined Barbara Flueckiger as co-curator of the website Timeline of Historical Colors in Photography and Film.

  • Clara Granzotto, The Art Institute of Chicago

     Associate Conservation Scientist in the Conservation and Science department at the Art Institute of Chicago. She received her Ph.D. in chemical sciences from the University of Venice, Italy, and the University of Lille, France. Clara conducted post-doctoral research at Northwestern University, the Metropolitan Museum of Art and the University of Copenhagen. She specializes in the analysis of traditional binding media by mass spectrometry, with a focus on polysaccharides and proteins

  • Ken Sutherland, The Art Institute of Chicago

    Andrew W. Mellon Director of Scientific Research in the Department of Conservation and Science at the Art Institute of Chicago. His main research interests concern the characterization of organic materials in works of art, using mass spectrometric and other analytical techniques, to inform an understanding of their technique, condition and appearance.

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Published

2025-04-09

Issue

Vol. 17 No. 01 (2025)

Section

Papers

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Copyright (c) 2025 Paulina Mi?sik, Sylvie Pénichon, Clara Granzotto, Ken Sutherland

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How to Cite

“An investigation into the structure and color stability of Polaroid 20×24 prints” (2025) Cultura e Scienza del Colore - Color Culture and Science, 17(01), pp. 82–91. doi:10.23738/CCSJ.170107.