Papers, articles, catalogue entries, etc. [Items marked * are peer-reviewed publications]
*Freedberg, D., Burnstock, A., Phenix, A. 1984. ‘Paintings or prints? Experiens Sillemans and the origins of the grisaille sea-piece: notes on a rediscovered technique’. Print Quarterly 1(3): 148-168.
*Phenix, A. and Hedley, G. 1984. ‘Lining without heat or moisture’. Preprints of ICOM 7th triennial meeting, Copenhagen, 10-14 September 1984. Pp. 84.2.38-44. Paris: ICOM.
Phenix, A. and Burnstock, A. 1990. ‘The deposition of dirt: a review of the literature with scanning electron microscope studies of dirt on selected paintings’. In Dirt and pictures separated: papers given at a conference held jointly by UKIC and the Tate Gallery, January 1990. Pp. 11-18. Eds. V. Todd, S. Hackney, J. Townsend, & N. Eastaugh. London: UKIC.
*Phenix, A. and Burnstock, A. 1992. ‘The removal of surface dirt on paintings with chelating agents’. The Conservator 16: 28-38.
Phenix, A. 1993. ‘Artists’ and Conservation Varnishes: An Historical Overview’. In Varnishing: Theory and Practice, A.B.P.R. 50th Anniversary Conference, September 1993. Pp. 12-26. London: ABPR.
*Khandekar, N., Phenix, A. and Sharp, J. 1994. ‘Pilot study into the effects of solvents on artificially aged egg tempera films’. The Conservator 18: 62-72.
*Phenix, A. 1995. ‘The lining of paintings: traditions, principles and developments’. In Lining and backing: the support of paintings, paper and textiles. Papers delivered at the UKIC conference, 7-8 November 1995. Pp. 21-33. London: UKIC.
Phenix, A. 1997. ‘The composition and chemistry of eggs and egg tempera’. In proceedings of symposium Early Italian Painting: Techniques & Analysis, SRAL, Maastricht 1997. [Re-published, with minor modifications, in Mixing and Matching: Approaches to Retouching Paintings, Eds. R. Ellison, P. Smithen & R. Turnbull. London: Archetype (2010).]
Phenix, A., Gottschaller, P. and Burnstock, A. 1997. ‘Accelerated Ageing of Polymer Dispersion Consolidants’. In preprints to International Institute for Conservation Nordic Group conference, Conservation Methods and Materials, Oslo, March 1997, 99-114.
*Phenix, A. 1998a. ‘Solubility parameters and the cleaning of paintings: an update and review.’ Zeitschrift für Kunsttechnologie und Konservierung, Jahrgang 12, Heft 2, 387- 409.
Phenix, A. 1998b. ‘Organic solvents and the cleaning of paintings: an introduction’. In proceedings of colloquium Beobachtungen zur Gemäldeoberfläche und Möglichkeiten ihrer Behandlung, Schule für Gestaltung, Bern, Switzerland 13-14 March 1998.
Phenix, A. 1998c. ‘The effects of organic solvents on paint and varnish’. In proceedings of colloquium Beobachtungen zur Gemäldeoberfläche und Möglichkeiten ihrer Behandlung, Schule für Gestaltung, Bern, Switzerland 13-14 March 1998.
Phenix, A. 1998d. ‘The science and technology of the cleaning of pictures: past, present and future’. In Preprints to 25th Anniversary Conference, School of Conservation, Royal Danish Academy of Art, Copenhagen, May 1998.
Phenix, A. 1998e. ‘Solvent-induced swelling of paint films: preliminary results’. WAAC Newsletter Vol.20, No. 3, September 1998, 15-20.
van den Berg, J.D.J, Boon, J.J. and Phenix, A. 1998. ‘Analytical chemistry of oil paint: a revised chemical model of aged oil paint relevant to the cleaning of paintings’. In proceedings of colloquium ‘Beobachtungen zur Gemäldeoberfläche und Möglichkeiten ihrer Behandlung’, Schule für Gestaltung, Bern, Switzerland 13-14 March 1998.
*Kokkori, M., Boon, J.J. and Phenix, A. 1999. ‘Solvent extraction of organic compounds from oleo-resinous ‘Megilp’ paint media’. In preprints to ICOM Committee for Conservation, 12th triennial meeting, Lyon 1999, 318-324
Joubert, K. & Phenix, A. 2000. ‘An evaluation of transparent yellow pigments for the retouching of paintings’. In proceedings of Assoc. Brit. Picture Restorers conference 2000, Retouching and Filling. London: ABPR.
*Khandekar, N., and Phenix, A. 2000. 'Some observations on the effects of a selection of solvents on an artificially aged egg tempera paint film’. Bull. Australian Inst. for Cons. Cult. Mat., 25: 1-7.
Phenix, A. 2001. ‘Swelling of artists’ oil paints due to sorption of organic solvents’. The Picture Restorer, Autumn 2001, 16-19.
*Phenix, A. 2002a. ‘The swelling of artists’ paints in organic solvents Part 1 – a simple method for measuring the in-plane swelling of unsupported paint films.’ J. American Institute for Conservation, 41: 43-60.
*Phenix, A. 2002b. ‘The swelling of artists’ paints in organic solvents Part 2 - comparative swelling powers of selected organic solvents and solvent mixtures.’ J. American Institute for Conservation, 41: 61-90.
*Phenix, A. and Sutherland, K. 2001. ‘The cleaning of paintings: effects of organic solvents on oil paint films’. Reviews in Conservation, 2: 47-60.
Phenix, A. 2002. ‘Building Models: Comparative Swelling Powers of Organic Solvents on Oil Paint and the Cleaning of Paintings’. The Conservation Journal, Victoria & Albert Museum, 40 (Spring 2002): 18-21.
*Ackroyd, P., Villers, C., Phenix, A. and Wade, N. 2002. ‘Structural treatments for canvas paintings in 2002: summary of questionnaire replies’. Proceedings of ICOM-CC 13th Triennial Meeting, Rio de Janeiro, 2002. Ed. R. Vontobel. Pp. 321 – 327. London: James & James.
*Ackroyd, P., Villers, C. and Phenix, A. 2002. ‘Not lining in the twentyfirst century: attitudes to the structural conservation of canvas paintings’. The Conservator 26: 14-23.
Phenix, A. 2003. ‘The swelling of artists’ paints by organic solvents and the cleaning of paintings: recent perspectives, future directions.’ Postprints of the Paintings Speciality Group sessions, American Institute for Conservation conference 2002, Miami, Florida. Parkin, H.M. (Ed.), American Institute for Conservation 2003: 71- 86.
*Carr, D.J., Young, C.R.T., Phenix, A., and Hibberd, R.D. 2003. ‘Development of a physical model of a typical 19th Century English Canvas Painting’. Studies in Conservation 48(3): 145-154.
*Carr D.J., Odlyha M., Cohen N., Phenix A. and Hibberd R.D. 2003. ‘Thermal analysis of new, artificially aged and archival linen’. Journal of Thermal Analysis and Calorimetry 73: 97-104.
Ross, S. & Phenix, A. 2005. ‘Vulpex spirit soap as a cleaning agent for painted surfaces.’ WAAC Newsletter. 27(1): 15-22.
Phenix, A. 2005. ‘End of the road for cellosolve and cellosolve acetate; probably DMF too’. The Picture Restorer, (Autumn): 11-17.
Phenix, A. 2007. ‘Generic Hydrocarbon Solvents: a guide to nomenclature’. WAAC Newsletter 29, 2
Phenix, A., Doherty, T., Schönemann, A. and Rizzo, A. 2009. ‘Oudry’s Painted Menagerie. A technical study of selected works from a series of animal portraits by Jean-Baptiste Oudry with reference to the artist’s lectures on painting technique to the French Royal Academy’. In Proceedings of ATSR Working Group of ICOM-CC interim meeting, Glasgow, 12-13 June 2008, Study and Serendipity: Testimonies on Artists’ Practice, eds. E. Hermens and J.H. Townsend. Pp. 95-103. London: Archetype.
Phenix, A., Doherty, T. and Swicklik, M. 2009. Jean-Baptiste Oudry’s Lectures on Painting Technique Delivered to the French Royal Academy in 1749 and 1752. See:
Rivenc, R, Learner, T., Phenix, A., and Wolfe, J. 2009. ‘The Identification Of Paints Used On Modern And Contemporary Outdoor Sculpture’. In Art d’aujourd’hui, patrimoine de demain: conservation et restauration des œuvres contemporaines, proceedings of 13th SFIIC Colloquium Paris, 24-26 June 2009. Pp. 284-291. Champs-sur-Marne: SFIIC.
Phenix, A. 2009. ‘Some Reflections on the Use of Organic Solvents in Conservation’, AIC News, 34(2): 1, 8-11.
*Schilling, M., Bouchard, M., Khanjian, H., Learner, T., Phenix, A. and Rivenc, R. 2010. ‘Application of chemical and thermal analysis methods for studying cellulose ester plastics’. Accounts of Chemical Research 46,6: 888-896.
Phenix, A. 2011. ‘Thermal mechanical transitions in artists’ oil paints and selected conservation materials: a study by Dynamic Mechanical Analysis (DMA).’ Postprints of the Paintings Speciality Group meeting, American Institute for Conservation conference 2009, Los Angeles. Buckley, B. (Ed.), American Institute for Conservation, 72-89.
Keefe, M., Ormsby, B., Soldano, A., Phenix, A., Learner, T., Tucker, C., Behr, A., Meyers, G., Rheinhardt, C., Boomgaard, T., Peitsch, C. 2011. ‘Art and industry: novel approaches to the evaluation and development of cleaning systems for artists’ acrylic latex paints’. Journal of Coatings Technology and Research 8, 9 (September), 30-44.
*Kampasakali, E., Ormsby, B., Phenix, A., Schilling, M. and Learner, T. 2011. ‘A preliminary study into the swelling behaviour of artists’ acrylic emulsion paint films’. Preprints of ICOM Committee for Conservation, 16th Triennial Meeting, Lisbon, September 19–23, 2011, edited by Janet Bridgland, Working Group: Modern Materials and Contemporary Art. (Paris: International Council of Museums, September 2011), CD-ROM (unpaginated).
*Esmay, F. Learner, T. Druzik, J. and Phenix, A. 2011. ‘Bright Ideas: Exploring Ways to Document Dan Flavin’s Fluorescent Light.’ Preprints of ICOM Committee for Conservation, 16th Triennial Meeting, Lisbon, September 19–23, 2011, edited by Janet Bridgland, Working Group: Documentation. (Paris: International Council of Museums, September 2011), CD-ROM (unpaginated).
Phenix, A. 2011. ‘Roy Lichtenstein’s outdoor painted sculpture Three Brushstrokes (1984): analysis of paint structure and composition’.
Chui, S.A. and Phenix, A. 2012. Catalogue entry for Andrea Salai’s Virgin and Child with St. Anne, Hammer Museum, Los Angeles. In La Sainte Anne: l'ultime chef d'oeuvre du Léonard da Vinci; ed. Vincent Delieuvin. Paris: Musée du Louvre.
*Wong, L., Rickerby, S., Rava, A., Phenix, A., Mazurek, J. and Kamel, R. 2102. ‘Examination of the wall paintings in Tutankhamen’s tomb: inconsistencies in original technology.’ In The decorative: Conservation and the Applied Arts’, contributions to the 2012 Vienna Congress of the International Institute for Conservation. S. Cather et al (eds.). Pp. 322-330. London: International Institute for Conservation.
Chui, S.A. and Phenix, A. 2013. ‘Aspects of painting technique in the Madonna and Child with Saint Anne attributed to Gian Giacomo Caprotti, called Salai’. In Artists’ Footsteps: studies in the reconstruction of pigments and paintings. Festschrift for Renate Woudhuysen-Keller. L. Wrapson et al (eds.). Pp. 49-62. London: Archetype Publications.
*Schmidt Patterson, C., Carson, D., Phenix, A., Khanjian, H., Trentelman, K., Mass, J., and Hirschmugl, C. 2013. ‘Synchrotron-based imaging FTIR spectroscopy in the evaluation of painting cross-sections.’ e-Preservation Science 10: 1-9. http://www.morana-rtd.com/e-preservationscience/2013/Patterson-02-06-2012.pdf
Ormsby, B.A., Soldano A., Keefe, M.H., Phenix, A., and Learner, T. 2013. ‘An empirical evaluation of a range of cleaning agents for removing dirt from artists’ acrylic emulsion paints.’ Postprints of the Paintings Speciality Group meeting, American Institute for Conservation conference, 2010, Milwaukee (Vol.23). Buckley, B. (Ed.). Pp. 77-87. Washington D.C.: American Institute for Conservation.
*Phenix, A. 2013. ‘Effects of organic solvents on artists’ oil paints.’ In proceedings of symposium New Insights into the Cleaning of Paintings (Cleaning 2010), Smithsonian Institution Scholarly Publications/Polytechnic University of Valencia. 69-76.
Chui, S.A and Phenix, A. 2013. The Esterházy Madonna in the Context of Leonardo da Vinci's Studio Practice. In Leonardo da Vinci’s Technical Practice. Ed. Michel Menu. Pp. 153 - 164 Paris: Hermann Editions. http://www.editions-hermann.fr/3858-leonardo-da-vinci-s-technical-practise-paintings-drawings-and-influence.html
Boitelle, R. and Phenix, A. 2014. 'Technical examination of Daubigny’s Cliffs at Villerville-sur-mer, or new light on the history of Impressionism.' In Making and Transforming Art: Technology and Interpretation. Eds. H. Dubois, J.H. Townsend, J. Nadolny, S. Eyb-Green, S. Kroustallis, and S. Neven. Pp. 141-42. London: Archetype.
Chui, S.A., and Phenix, A. 2014. ‘Giovanni Antonio Boltraffio’s Madonna and Child in the Context of Leonardo da Vinci’s Studio Practice.’ Postprints of the Paintings Speciality Group session, American Institute for Conservation meeting 2011, Philadelphia (Vol. 24). Buckley, B. (Ed.), American Institute for Conservation. 1-12.
Phenix, A. & McClintock, T. 2015. ‘Frederick Hammersley: an artist’s documentation of his painting practice’. Postprints of the Paintings Specialty Group session, American Institute for Conservation meeting 2012, Albuquerque (Vol. 25). Buckley, B. (Ed.). Washington DC: American Institute for Conservation. 8-20.
Ormsby. B., Keefe, M.H., Phenix, A., and Learner, T. 2015. ‘A summary of recent developments in wet surface cleaning systems: unvarnished modern and contemporary painted surfaces’. In Modern Conservation: what’s new? Proceedings of ICON (UK) Paintings Group Meeting, October 2014. Eds. A. Barros D’Sa, L. Bone, R. Clarricoates and H. Dowding. London: Archetype. 1-13.
Phenix, A., and Graczyk, A. 2015. ‘An aromatics-free hydrocarbon solvent/diluent for Laropal® A 81 and Gamblin Conservation Colors.’ WAAC Newsletter 37, 3: 17-20.
*Ormsby, B., Keefe, M., Phenix, A., von Aderkas, E., Learner, T., Tucker, C., and Kozak, C. 2016. ‘Mineral Spirits-based Microemulsions: A Novel Cleaning System for Acrylic and Other Modern Artists’ Paints’. J. American Institute for Conservation 55, 1: 12-31.
*Grayburn, R., Voras, Z.E., Goodwin, C.M. Liu, M.-C., Beebe Jr., T.P., Phenix, A. 2017 ‘Ion probe techniques to measure the distribution of substrate elements in coatings for copper alloys.’ Progress in Organic Coatings, 111: 267–272.
*Phenix, A., Soldano, A., van den Berg, K.J., van Driel, B. 2017. 'The Might of White': Formulations of titanium dioxide-based oil paints as evidenced in archives of two artists’ colourmen, mid-20th century. In ICOM-CC 18th Triennial Conference Preprints: "Linking Past and Future," Copenhagen, 4-8 September 2017, ed. Janet Bridgland, art. 0104. ICOM Committee for Conservation. Paris: ICOM-CC.
*Wolfe, J., Grayburn, R., Khanjian, H., Heginbotham, A., and Phenix, A. 2017. Deconstructing Incralac: A formulation study of acrylic coatings for the protection of outdoor bronze sculpture. In ICOM-CC 18th Triennial Conference Preprints: "Linking Past and Future," Copenhagen, 4-8 September 2017, ed. Janet Bridgland, art. 0808. ICOM Committee for Conservation. Paris: ICOM-CC.
Chui, S.A. and Phenix, A. ‘Leonardo’s Obsession: A workshop variant of his Virgin and Child with Saint Anne from The Hammer Museum at UCLA’. Postprints of the Paintings Specialty Group session, American Institute for Conservation meeting 2014, San Francisco (Vol.27). Buckley, B. (Ed.), American Institute for Conservation. Pp. 53-64.
*Perchuk, A., Rivers, L., and Phenix, A. 2017. ‘Making Mural: Technical Analysis and Interpretation’, Getty Research Journal 9 (Supplement 1): 27-60.
Rivers, Laura, Yvonne Szafran, Alan Phenix, Tom Learner, and Andrew Perchuk. 2017. "AUDIO: Jackson Pollock’s “Mural,” Part 1." The Iris: Behind the Scenes at the Getty (August 23, 2017). http://blogs.getty.edu/iris/audio-jackson-pollocks-mural-part-1/
———. 2017. "AUDIO: Jackson Pollock’s “Mural,” Part 2: Looking Closely at an American Abstract Expressionist’s Painting Reveals More Than Meets the Eye." The Iris: Behind the Scenes at the Getty (August 23, 2017). http://blogs.getty.edu/iris/audio-jackson-pollocks-mural-part-2/
Papers currently in press
Phenix, Alan, and Agata Graczyk. (Forthcoming). Mapping the non-ideal: Reflections on graphical representation of solubility parameters as a tool in conservation practice. In AIC Paintings Specialty Group Postprints: Papers presented at the 43nd Annual Meeting of the American Institute for Conservation of Historic and Artistic Works," Miami, Florida, May 13-16, 2015, ed. B. Buckley, Vol. 28. Washington, DC: Paintings Specialty Group, American Institute for Conservation of Historic and Artistic Works.
Hoeyng, K., Etyemez, S., Mazurek, J., Carta, C., McCormick, K., Phenix, A., Schilling, M. ‘Observations from a condition survey of Walt Disney animation cels.’ Postprints of the Paintings Specialty Group session, American Institute for Conservation meeting 2016, Montreal (Vol. 29). Buckley, B. (Ed.), American Institute for Conservation. (In press).
Wolfe, Julie, Cristina L. Simms, Alessa Gambardella, Rosie Grayburn, Arlen Heginbotham, Herant Khanjian, Joy Mazurek, Alan Phenix, Katrina Posner, Michael Schilling, Magdalena Solano, Maria Olivia Davalos Stanton, and Hope Welder. Forthcoming. An evaluation of cold paste waxes used in conservation for outdoor bronze sculpture. In Objects Specialty Group Postprints: Proceedings of the Objects Specialty Group Session: 45th Annual Meeting in Chicago, Illinois, "Treatment 2017: Innovation in Conservation and Collection Care," May 28-June 2, 2017, Vol. 24. Washington, DC: American Institute for Conservation of Historic and Artistic Works. Objects Specialty Group.
Books, Exhibition Catalogues, and Conference Proceedings
Phenix, A. and Chui, S.A. (eds.) 2011. Facing the challenges of panel paintings conservation: trends, treatments and training, Proceedings of a symposium at the J. Paul Getty Museum, May 17 and 18, 2009, Los Angeles: The Getty Conservation Institute.
Woollett, A., Szafran, Y. and Phenix, A. 2012. Drama and Devotion: Heemskerck's 'Ecce Homo' Altarpiece from Warsaw. Los Angeles: Getty Publications.
Szafran, Y., Rivers, L., Phenix, A., Learner, T., Landau, E. and Martin, S. 2014. Jackson Pollock's Mural: the transitional moment. Los Angeles: Getty Publications.
Phenix, A. 2015. Some Instances in the History of Distilled Oil of Turpentine: The Disappearing Painters’ Material. Los Angeles: Phenix. (self-published)
Phenix, A., 2017. ‘For the Record and Straight from the Horse’s Mouth: Frederick Hammersley’s Accounts of His Painting Process and Materials’. In, Frederick Hammersley: To Paint Without Thinking, Ed. James Glisson. San Marino, CA: The Huntington Library, Art Collections, and Botanical Gardens. Pp. 32-68.