Blog @ the Nelson-Atkinstag:www.nelson-atkins.org,2011:/blog//32011-03-21T21:51:16Zis the place to find out the latest about the Bloch Building, Nelson-Atkins Building and the Kansas City Sculpture Park. Sound off here about your experiences and be inspired for your next visit. Movable Type 3.32Treatment of Persian 'Platter with Kufic Inscription'tag:www.nelson-atkins.org,2011:/blog//3.4572011-03-21T16:42:43Z2011-03-21T21:51:16ZSenior Conservator Kate Garland recently completed a project cleaning a 10th-century Persian earthenware Platter with Kufic Inscription. Garland noted that the platter appeared to have many fills as well as several areas where overpainting was done by a 20th-century restorer...Melissa KleindlPlatter with Kufic Inscription. Garland noted that the platter appeared to have many fills as well as several areas where overpainting was done by a 20th-century restorer to conceal old breaks.
The platter was cleaned with acetone solvent to remove as much of the dirt and overpaint as was safely possible. As she slowly cleaned, using a wooden stick and cotton tip soaked in the acetone, Garland pointed to areas around the platter’s edges where restorers added paint over the original glaze. ]]>
The photo to the left shows a blank spot on the platter’s rim where Garland rubbed and scraped away all of the overpaint. Revealed is what appears to be red clay, which Garland believes is part of the original platter. Reddish-colored clay is also visible on the bottom of the platter (pictured below) in areas where portions of the original glaze have chipped away.
The platter has some cracks and fills that are visible to the naked eye, especially on the bottom where white portions of clay (the fills) can easily be found. However, these cracks and fills are more dramatic when seen on an x-ray (below). X-rays often surprise conservators because they show details that are not evident on the object’s surface. Cracks, fills, and even a “healthier” condition can all be revealed.
Though Garland hoped that all of the pieces seen in the x-ray were portions of the original platter and not added by restorers—and, based on the clean breaks and closely matched portions on the exterior, it seemed possible that the original pieces are all present—on the interior of the platter are jagged edges that suggest areas where restorers added fills.
Acetone solvents can be useful in removing fills, but, unfortunately, on this platter an epoxy may have been used, which meant that platter fragments and fills could not be removed without causing damage. There is a strong possibility that removal of a piece, even if softened by acetone or some other material, will break off another, original fragment or result in original glaze loss. Further complicating matters is the knowledge that some of the glaze loss could look, on the x-ray, like fragments or cracks. As a result, some questions about the condition of the platter will likely go unanswered.
However, there are instances when ingenuity has trumped seemingly irreversible materials. Garland referenced an experiment recently conducted by Senior Associate Conservator Paul Benson: in an attempt to safely soften and remove several layers of materials used to restore a bowl, Benson created two vapor-chambers—one chamber to remove one type of restoration material, a second for other materials. He left fragments sealed (with kitchen tinfoil and plastic wrap) in the chambers for several days and then gauged the progress.
A similar chamber-system would probably not have been effective on Garland’s platter, so her focus shifted to adding fills to broken areas and repainting. This took a substantial amount of time and required, like most projects, many conversations between conservator and curator to determine specific details, such as how much painting should be done and where.
The paint materials that conservators use have been tested and shown to resist discoloration. And they are easily reversible. Among the paints used are premade artist’s acrylics as well as dry color pigments, including mica powder colored by metal (the same type used in car paint), and watercolors. The dry pigments are mixed using an acrylic resin in a solvent. Colors vary greatly, and time and patience is needed to create a mixture that best matches the original.
One of Garland's favorite experiences as a conservator is seeing an object on display, knowing that she added fills or overpaint to it, and being unable to locate those areas because all details are so seamlessly integrated.
For information about other conservation projects, click here or visit the Conservation webpage.]]>
Looking Closely at a Persian Bowltag:www.nelson-atkins.org,2011:/blog//3.4562011-03-01T16:05:53Z2011-03-04T16:47:10ZConservation on 11th-14th-century Islamic objects has been a recent focus for Museum conservators. Among those projects was a survey, repair on a vase, and careful cleaning of an inkwell. A recent project for Kress Fellow Conservation Intern Jiafang Liang has...Melissa Kleindl
survey, repair on a vase, and careful cleaning of an inkwell. A recent project for Kress Fellow Conservation Intern Jiafang Liang has been on the late 12th-early 13th century Persian bowl pictured below. It is composed of earthenware with a lead glaze and depicts a scene of a courtier and attendants, hence its descriptive title: Bowl with Scene of Courtier and Attendants. During her examination, Jiafang found evidence of previous restoration. She pointed out areas where that work is more obvious, including cracks in artificially painted glaze as well as differences in enamel paints, design and texture.
]]>
Jiafang noted areas where a previous restorer covered some of the original decorations with overpaint in order to hide a new-fired 20th-century clay shard underneath it. These clay fragments are sometimes, but not always, visible to the naked eye. For example, in the detail photo above, look to the right of the sitting figure where 3 yellow shapes are near an earlier restorer’s white clay. Some of these new-fired clay fragments were poorly done; air bubbles formed during the firing and broke out onto the glazed surface.
Jiafang further explained that the decoration done by the restorer does not always match the original design. Look closely at the image to the right: Notice the black lines and colors don’t quite match where the 20th-century restorer “improved” the design. While areas above the eyes of this sitting figure were discovered to be part of the original design, Jiafang realized that the robe was covered by the 20th-century restorer with a grayish-colored paint.
Nelson-Atkins conservators remain busy with a variety of projects. For information about them, click here, and visit the Conservation department webpage.]]>
A note from our Director-Egypt's Historic Momentstag:www.nelson-atkins.org,2011:/blog//3.4552011-02-11T23:20:13Z2011-02-11T23:28:34Z Dear friends, I am certain that, like me, you have been following the events unfolding in Egypt with vivid interest. Just a little while ago Mubarak officially transferred the powers to the military, and all of Egypt is celebrating...Shannon
Dear friends,
I am certain that, like me, you have been following the events unfolding in Egypt with vivid interest. Just a little while ago Mubarak officially transferred the powers to the military, and all of Egypt is celebrating what is sure to be a historic moment: a major bloodless revolution powered by the connectivity that technology brings to all of us. The assertiveness of the young Facebook generation and the daring of many contributed greatly to this change. Of course, the next days and months are critical in reinventing a nation with the democratic values that have been so strongly heralded by the people.
These same tools are ones that have brought the world closer together and today, as they celebrate, I feel particularly close to the Egyptian people.
Early in my career I had the opportunity to work in Egypt and immediately developed a love for the country and the rich variety of cultures that have emerged from Pharaonic times to the present. Many of my meetings were at the Cairo Museum, and I would stay at a nearby hotel, all around Tahir Square, which now will be known for these peaceful transformative events.
In watching this, my emotions rose and I was reminded of 1989 when the Berlin Wall came down. I had the privilege of flying into Berlin to witness those events first hand and was joined by my maternal grandmother who, in her youth, had to flee that same city. Chipping a part of that wall with her remains one of the highlights of my life.
We are living incredible times, and I couldn’t refrain from sharing these thoughts with you.
Best,
Julian
Louise Nevelson's "End of Day" Sees Light of Daytag:www.nelson-atkins.org,2011:/blog//3.4532011-02-07T17:55:54Z2011-02-07T18:09:21Z If you visit the minimalism and conceptual art galleries over the month of February, you may see someone touching the art. Rose Daly, objects conservation graduate intern, will be assessing the condition and treating the sculpture End of Day:...Jodi O-K
If you visit the minimalism and conceptual art galleries over the month of February, you may see someone touching the art. Rose Daly, objects conservation graduate intern, will be assessing the condition and treating the sculpture End of Day: Nightscape IV.
This is a unique opportunity to see art conservation in action, which is almost exclusively done behind the scenes in the Museum. Art conservation is the department concerned with the preservation and restoration of the art collection. ]]>
This sculpture is too large and too fragile to be moved for this conservation project so the treatment will take place in situ. The sculpture is made of found wood objects that are glued or screwed together and spray painted a uniform matte black color. It is an important piece in the Museum collection and has been on almost continual display since coming into the collection in 1974.
The treatment steps that you will see over the next month will include- creating a condition diagram, surface cleaning, paint consolidation, and retouching areas of lost paint.
Visitors will be able to talk to Rose Daly on Thursdays and Fridays at 11 a.m. and 1 p.m., there will be a hands-on activity that demonstrates Nevelson’s working methods, and on Fridays at Noon there will be a film screening in the Atkins Auditorium about Nevelson.
On February 19-20 a family activity in the gallery will focus on Louise Nevelson’s Methods and Materials.
]]>
Cups of Plentytag:www.nelson-atkins.org,2011:/blog//3.4522011-01-06T20:25:34Z2011-01-06T20:45:54Z The exhibition may have ended, but the Cups remain Forever. British artist Clare Twomey's installation of 1,345 Cups was an investigation into the ideas of permanence, responsibility and the perceived value of works of art. Twomey was inspired by...Jodi O-K
The exhibition may have ended, but the Cups remain Forever.
British artist Clare Twomey's installation of 1,345 Cups was an investigation into the ideas of permanence, responsibility and the perceived value of works of art. Twomey was inspired by a gift of 1,345 pieces of British ceramics by Harriet and Frank Burnap in 1941. The Burnaps stated repeatedly in the Deed of Gift that the collection be held by the Museum "in trust forever."
]]>
During the exhibition, visitors were allowed to select a Cup they would like to own. A Deed had to be completed for each Cup that required the prospective owner to contemplate the gravity of this decision. For instance, one clause states that the Cup must be made "available for inspection and examination by all serious-minded students and experts desiring to inspect or examine it."
Each week of the exhibition, a group of about 60 people were awarded Cups. Those lucky owners are now required to bring their Deeds to the Museum to collect the Cups.
I went to observe the pick-up process and talk to some of the owners. Everyone I spoke to was very excited. One woman was picking up the Cup for her son-in-law who lives in another part of the country. She will be the caretaker of his Cup until he is able to collect it. She was very excited about having a work of art in her home, even for a short period of time. However, she will keep the Cup in her curio cabinet to prevent her dog from chewing on it.
Owners may pick up their Cups through Sunday, Jan. 9. Click here to share stories and photos of your Cup on our website.
]]>
Treatment Begins: Henry Moore's 'Large Torso: Arch'tag:www.nelson-atkins.org,2011:/blog//3.4512011-01-03T16:30:13Z2011-01-06T20:50:19Z The treatment of Henry Moore’s Large Torso:Arch has begun! An earlier post highlighted the de-installation of this large bronze sculpture, when it was moved from the Kansas City Sculpture Park to the Objects Conservation Lab....Rose Daly
The treatment of Henry Moore’s Large Torso:Arch has begun!
An earlier post highlighted the de-installation of this large bronze sculpture, when it was moved from the Kansas City Sculpture Park to the Objects Conservation Lab.
]]>
Incralac (a synthetic lacquer developed by the International Copper Research Association - INCRA) and wax. These coatings protect the sculpture from the elements when it is displayed outdoors. These coatings can be patched if there are small losses, but eventually the entire coating should be removed so a new coating can be applied.
Synthetic coatings are usually applied every 5-10 years, depending on where the sculpture is located outdoors, whether scratches to the coating will be repaired, and whether the coating will be regularly maintained or covered with an additional wax coating yearly. This sculpture was last coated with Incralac in 1987, and this coating has been maintained by applying yearly wax coatings over the Incralac. We hope the coating we will apply will last for close to as long as the previous coating.
Removal can be done in a few ways, but most commonly the coatings are removed by applying a solvent to the surface of the coating, then the coating is dissolved and absorbed with a cloth. As an experiment, I wanted to see if the wax or Incralac coatings could be removed with pressurized steam. I chose this method because it would be more environmentally conscious than using large quantities of solvent, and it is safer for me, the conservator. The fumes of the solvents that are used to remove coatings are dangerous and I must wear a respirator and work in an area with good ventilation.
The pressurized steam is effective at removing the wax coating and removes some of the Incralac. The wax can be pushed by the steam and will collect in a line (as shown in the image to the left) which is then wiped off the sculpture with a cotton cloth or dusted off with a toothbrush. Because this method pushes wax off the sculpture, I wear a face shield and lab coat (shown above) to protect me from flying particles of hot wax. The steam effectively reaches the wax in the tool marks on the sculpture.
The more time I spend with the sculpture, the more intricacies I discover in the surface that add another layer to the aesthetic. The sculpture is a beautiful form with a fantastic profile; it also has an amazing textured surface, and when it is examined up close it reminds me of canyons. I spent the afternoon in the Henry Moore sculpture arcade looking at the details of the tool marks in Moore’s sculptures, and it was much warmer than the Sculpture Park.
]]>
A Winter Walk in the Parktag:www.nelson-atkins.org,2010:/blog//3.4502010-12-29T16:54:49Z2010-12-29T17:30:39Z Most people step outside their offices to get some air. At the Museum, we step outside to get art. I love walking through the Kansas City Sculpture Park most of the time. Typically, winter is not one of those...Jodi O-K
Most people step outside their offices to get some air. At the Museum, we step outside to get art.
I love walking through the Kansas City Sculpture Park most of the time. Typically, winter is not one of those times.
However, since the temp has crept up into the 40s, I decided to venture out yesterday afternoon.
I was delighted to find a good number of folks walking around the Sculpture Park.
The sun was starting to set so the trees and sculptures were casting long shadows.
Even with a good number of people milling about, the Park seemed more quiet and peaceful than usual.
I found a new vantage point to view the East Sculpture Terrace.
The Bloch Building is known for its magical nighttime glow, but the sun can make is shine like a diamond.
The southeast corner of the Park is called the bowl.
Henry Moore’s Reclining Connected Forms sits in a secluded area right off the busy street at the corner of Rockhill Road and Cleaver Blvd.
During construction of the Bloch Building, many of the trees on the east side had to be removed.
The trees in this section were saved, and they are some of my favorites, including the one that is growing sideways across the path.
It looks like it has some extra support these days.
I’ll leave you with a view of what I call “the granddaddy tree” that stands alone on the south end near Moore’s Sheep Piece.
The temperature is supposed to be mild this week. The Sculpture Park is open during daylight hours.
]]>
Careful Cleaning, Stunning Resultstag:www.nelson-atkins.org,2010:/blog//3.4492010-12-20T15:38:38Z2010-12-28T15:51:55ZThe Conservation department has made significant progress restoring several 11-14th-century Islamic ceramic objects—some of which is highlighted in earlier entries (here and here). These ceramics have not been the sole focus, however, as a variety of objects are in the...Melissa Kleindl
Conservation department has made significant progress restoring several 11-14th-century Islamic ceramic objects—some of which is highlighted in earlier entries (here and here).
These ceramics have not been the sole focus, however, as a variety of objects are in the Islamic collection, including metal works. ]]>
Nelson-Atkins Senior Associate Conservator Paul Benson recently completed cleaning a late 19th-century Syrian cast brass ink well and pen holder. Though Benson explained it is best not to have specific expectations when beginning a new project because the outcome can never be certain, in this case the results are stunning.
Though the object is not perfect (the ink well lid does not close tightly), and no hidden treasures were discovered inside (only the original accession sticker was found), the object is undeniably striking and did hold some surprises. For example, it is possible that trace amounts of ink could be found in the ink well. But perhaps most surprising was the significant improvement in appearance achieved by only a simple—but meticulous—cleaning: the object now literally sparkles in the light. The intricately designed floral-and-vine motif extends over the entire 13 inch length and 1 ½ inch width and is covered by mechanically-applied silver overlay. Ornate calligraphy, which will ideally be translated in the future, adorns the bottom.
The object was not so lovely when removed from storage. It was extremely dirty and tarnished. In the image to the right, taken during the cleaning, notice the marked contrast between the clean and dirty portions. Benson explained that his primary goal was to simply get all of the caked-in dirt out of the design. He also recognized signs of early restoration via traces of white, powdered silver polish, which was evident in the object’s delicate grooves. The powder needed to be removed because it absorbs moisture, which would cause the metal to deteriorate. Because the design is so dainty, a microscope was necessary to see and effectively remove the dirt and polish powder. A toothbrush, pin and acetone solvent were other invaluable tools in the process, and gloves were always worn when handling this object to protect the metal from skin oils.
Simply removing the dirt created stunning results, but optimum visual appeal was important so Benson spent time removing tarnish. Some remains on the object, but that is aesthetically appropriate given the object’s age. Limiting the amount of scraping and polishing done is also a protective precaution. Even so, the amount of tarnish removed is not insignificant. To the left is shown one of the two large (previously white) towels used to clean the object. These towels were blackened on both sides.]]>
A Conversation With Clare Twomeytag:www.nelson-atkins.org,2010:/blog//3.4472010-12-09T08:26:49Z2011-01-04T15:46:17ZOn October 6, acclaimed British artist Clare Twomey took time out of a busy week of preparation for the opening of Forever to talk with me about the ideas and background of the exhibition. Here are some highlights from our...Melissa Kleindl
On October 6, acclaimed British artist Clare Twomey took time out of a busy week of preparation for the opening of Forever to talk with me about the ideas and background of the exhibition. Here are some highlights from our conversation.
Twomey worked in close collaboration with The Nelson-Atkins Museum of Art, and, in particular, curator Catherine Futter. As part of her exploration of the history and processes of British ceramics, she was drawn to the Museum’s renowned Burnap Collection of English Pottery. The physical journey from Gallery P12, where the historic collection is displayed, to the contemporary spaces of the Bloch Building served as a catalyst for her project.
]]>
The Deed of Gift for the Burnap Collection served as further inspiration. Says Twomey, “reading [the Deed] was really a very beautiful, poetic journey. ‘Forever’ is written more than once in the Deed. And the notion of ‘forever,’ and the responsibility of ‘forever,’ is a huge part of my thinking.”
Twomey sees multiple meanings in the word “forever.” Visitors to the exhibition who would like to own a Cup will need to contemplate what “forever” means. If you are willing to commit to owning a Cup forever, “you may start to judge other things in your life in that manner as well, which is hopefully a contemplation which has further-reaching consequences than just this Cup.”
The quantity, materials and historical importance of the Burnap Collection guided Twomey’s installation. Because there are 1,345 objects in the Burnap Collection, there are 1,345 cups in the exhibition Forever. She also chose to replicate one of the objects, the Mary Sandbach Cup (shown above), explaining, “It’s a standout piece in the collection, a saltware-glazed piece that is [well known from] the collection.” The Cup “could bear translation as well. Lots of the objects may have become too kitsch, may have become too decorative. So this Cup, could survive translation to become a modern, contemporary-looking vessel, which it now looks in the Project Space.”
Since the works in the Burnap Collection were principally produced in Stoke-on-Trent in Staffordshire, Twomey chose to collaborate with a historic ceramic manufacturer there. The Cups are cast in creamware, which she explained is a traditional British clay, and each Cup has a backstamp that denotes these connections.
For Twomey, the process of producing 1,345 replica objects is exciting, and she appreciates the craftsmanship of each Cup because despite their seeming similarities, each one displays the “touch of the maker.”
Twomey firmly states that she feels no emotional attachment to the individual Cups “because the project was always intended to be outward” and the real life of Forever comes into play when a Cup is taken home by a visitor who has committed to keep and care for a Cup forever: “The work is dead until the labels start filling up. Until the work goes to people’s home[s], the work is incomplete.”
Twomey says, in closing, that this project—as with all of her installations—opens up “the thread of investigation.” I am certain Twomey will continue to explore, investigate, and produce thought-provoking exhibitions, as well as learn from them. She explains, “The reason I make work is to find out more. I will find out more by this work being made and that will influence what I make in the future and what I do.”
The exhibition is open until January 2, 2011.]]>
Repairing “disfiguring old repairs,” Revealing Innovationtag:www.nelson-atkins.org,2010:/blog//3.4482010-12-06T16:48:03Z2010-12-21T20:54:43ZAn earlier blog post highlighted survey work on Islamic ceramics being conducted Nelson-Atkins Kress Fellow conservation intern, Jiafang Liang. Now, we’ll take a look at a conservation project influenced by information collected in that survey. Senior Conservator Kate Garland has...Melissa Kleindl
earlier blog post highlighted survey work on Islamic ceramics being conducted Nelson-Atkins Kress Fellow conservation intern, Jiafang Liang. Now, we’ll take a look at a conservation project influenced by information collected in that survey.
Senior Conservator Kate Garland has been working to restore a 13th-14th-century Islamic ceramic vase. It is an archeological piece, like most of the Islamic pieces in the Museum’s collection. Most were found with varying degrees of breakage—this vase, in particular, had broken into 50 pieces.
But why bother restoring a vase in such condition?
]]>
They were also poorly painted, rough, and did not at all match the vase’s glazed surface. In a later conversation, Garland further stated, “the disfiguring old repairs were so distracting that it was difficult to appreciate the grace and beauty of this exceptional vase.”
Garland worked carefully to take apart the vase, separating each of the “original” 50 pieces and carefully removing all previously-used restoration materials. The conservation photograph to the left shows gaps where restoration materials had been, and blue tape marks each of the vase’s 50 pieces. Garland then reassembled the vase pieces using materials and methods that are safer, look better and will be easier to reverse, if needed, in the future.
All of the new materials have been scientifically tested and proven to resist changing colors or properties as they age—unlike the old materials that darkened, discolored and became more brittle. A paper pulp/powder mixture, with acetone as a solvent, was used in fills because of its strength and pliability. When heated up a bit, the mixture flexes and can be manipulated. [For those interested, the specific products included Sigmacell® Cellulose, Type 20; Glassmicroballon; Paraloid B72 (An Ethyl methacrylate copolymer) in 1:1:1 mixture]
Garland insists that no really new or novel techniques were used in restoring this vase, but she did reveal some of the creativity required in conservation work: the impressive scientific equipment is invaluable, but useful tools also included a hair dryer, toothbrush and a steam cleaner. The hair dryer was used to heat the paper mixture and make it pliable. The toothbrush gently brushed away residue, and the steam cleaner—the same type used to sterilize dental instruments—provided a precise, yet gentle, jet of steam that helped clean out breaks and remove the old animal glue.
From start to finish—with intermittent pauses in work because of other projects—Garland spent nearly 8 months completing the restoration. Look closely at the conservation image (to the left) of the newly restored vase (note also that the vase tilts very slightly). Compare it to the earlier restoration image (above, of the same side). The fills now blend in more seamlessly with intact portions of the vase, and evidence of restoration activity is significantly less visible.
]]>
A Closer Look at "Romancing the West"tag:www.nelson-atkins.org,2010:/blog//3.4462010-11-22T18:31:54Z2010-12-21T20:50:16Z For an intimate exhibition of 30 works on paper, Romancing the West: Alfred Jacob Miller in the Bank of America Collection has a richness and depth one would expect from a much larger installation. Visitors are invited to “Take...Jodi O-K
For an intimate exhibition of 30 works on paper, Romancing the West: Alfred Jacob Miller in the Bank of America Collectionhas a richness and depth one would expect from a much larger installation.
Visitors are invited to “Take a Closer Look” with magnifying glasses, but even without the visual aid, you can clearly see the passion, action and emotion of Miller’s compositions.
Three images in particular made me stop and take a much closer look.
]]>
The first was Attrapez des Chevaux (Catch the Horses). This dramatic scene occurs at the end of a day on the trail and is filled with movement and tension. The men must round up the horses so they may be safely corralled for the night. One figure in the lower left holds his hands to his mouth as he shouts instructions to the others. Men from all directions run to gather the horses that are seen in the distance. Even the wisps of clouds above appear to move energetically across the scene.
At first glance, the picture appears to be a hasty sketch that Miller created on the spot. However, the label indicates that it was created at a later date in his Baltimore studio.
The second image that caught my eye was Two Indians Killing a Buffalo. The tight composition places the action at the center, filling most of the sheet. The danger of killing a large, wild animal is mitigated by the graceful ballet of the men, the horses and the buffalo.
The twisting bodies of the men as they lean in to spear the animal are contrasted by the rearing of the horses and the downward motion of the buffalo as it attempts to break the attackers’ circle. Men and animals create a flowing rhythm that is mesmerizing.
The show stopper for me was Snake Female Reposing. This sketch is included in the section titled Influences beyond the West, which explains that Miller trained in Europe in 1833 and 1834 where he attended the École des Beaux-Arts in Paris and traveled to Rome and Florence to study and copy Old Master paintings.
Snake Female Reposing uses the European tradition of reclining women posed to enhance their allure. The small composition is very intimate and extremely sensual. The woman sleeps on a fur blanket under a tree with her body twisted so that her legs face away from us. We see her bare ankles and the bottoms of her feet, but her torso is flat on the ground, while her head turns towards the viewer, resting on her forearms.
Her full, dark hair falls down her back and covers part of her face. Her delicate features are accentuated by points of light that fall on her cheekbone and the tip of her nose. A canopy of a blanket is held by a low tree branch to protect her from the weather. A source of light comes from the right side of the composition behind the tree as if the sun is rising. A pair of teepees shrouded in mist and haze in the background lends the scene a dreamlike quality.
As romantic as the subject matter is, it is equally mysterious. Was she lured into the wilderness by some animal or spirit? Did she fall asleep contemplating the heavens? Will she awaken with the dawn and return to her village refreshed and renewed after her respite with nature?
While I prefer a more romantic reading of Snake Female Reposing, Assistant Curator of American Art Stephanie Knappe describes a somewhat darker meaning in the exhibition catalogue:
“America, an exotic land perceived by would-be colonizers as inviting conquest, was often personified as an Indian maiden. For Miller, his patron Stewart, and others…, the West was a new and foreign world, and the Snake woman may have embodied a range of Romantic fantasies associated with it.”
It would be easy to spend hours in Romancing the West studying all of the paintings in greater detail. Be sure to make time for a visit. The exhibition is open through January 9, 2011.
Images: All works by Alfred Jacob Miller, (American, 1810-1874) and are undated, Bank of America Collection. Indian Village, Watercolor, gouache, pencil and glazes on beige wove paper, 8 5/16 x 11 3/4 inches. Attrapez des Chevaux, Watercolor, gouache, and pencil, with ink and gum glazes on beige wove paper. 8 3/16 x 12 3/8 in. Two Indians Killing a Buffalo, Watercolor, gouache, and pencil on beige wove paper. 9 5/16 x 15 7/8 in. Snake Female Reposing, Watercolor, gouache, ink and gum glazes on Whatman drawing board. 6 1/4 x 10 3/8 in.]]>
Uncovering Details: Conservation Survey of Islamic Ceramicstag:www.nelson-atkins.org,2010:/blog//3.4452010-11-01T18:09:09Z2010-12-21T20:51:04ZAmong the more than 33,500 art objects owned by the Nelson-Atkins, 90 of them are striking 11th-14th-century Islamic ceramics. South & Southeast Asian art curator Kim Masteller and conservation staff are in the process of evaluating these objects—most of which...Melissa Kleindl
South & Southeast Asian art curator Kim Masteller and conservation staff are in the process of evaluating these objects—most of which have not been on display since their acquisition in the 1930s.
Nelson-Atkins Kress Fellow conservation intern, Jiafang Liang, has been busy conducting a survey of the Islamic ceramics (shown to the left is a view of the workspace). The survey’s purpose is to provide details about the composition, authenticity, and condition of each object, determine treatment, and estimate time needed for labor to make an object display-ready. When the survey is complete, conservators and curator will prioritize the objects and their needs.
]]>
Special equipment is used during the survey process, including an x-ray flurescence spectrometer, or “XRF” gun (shown to the right), long-wave ultraviolent light and x-rays. The XRF gun is used to help determine elemental compositions, like the materials that make up a glaze. Ultraviolet light can reveal restoration materials (or fills), the presence and type of surface painting, and the original surface. Some paint types contain elements that glow or “fluoresce” under UV light. Overpaint on fills usually fluoresces differently compared to original areas, which tend to be dark and non -fluorescing. Additionally, adhesives previously used to connect broken shards show up clearly under UV light.
X-rays are useful for detecting the density of materials and can also locate restoration, cracks, joins and other structural strengths or weaknesses.
The survey process is revealing. Liang shared several objects with obvious and less-obvious cracks and restoration work. Cracks on the bottom of a large bowl appear to have been taped (shown above), and some other restoration work is evident in the paint: on the bowl’s rim, paint discoloration (a different shade of blue) shows where a previous restorer worked.
A second bowl, from Kashan in Iran, was thought to have been heavily restored, based on a visible layer of brown film on top of the glaze. The bowl (to the left) would have originally been white with blue and black bands. Liang explained that through the survey and consultation with their contracted scientist, John Twilley, they learned that little restoration had been done to this bowl. The brown film layer is actually a naturally-occurring deterioration of the glaze.
Appearances can be deceiving in other ways, too. Liang pointed to a 12th-century dish for holding condiments (to the right) that appeared to be in great condition. However, an x-ray of this bowl showed extensive cracks—as if it had been smashed!—and reassembly. Apparently this is a common condition of Islamic ceramics because most pieces were found in excavations.
Information about a project influenced by the survey and undertaken by Senior Conservator Kate Garland will follow in a later post!]]>
Henry Moore’s 'Large Torso: Arch' is Relocated tag:www.nelson-atkins.org,2010:/blog//3.4432010-10-25T17:37:50Z2010-12-22T20:28:45ZA brisk fall morning was a good time to move Henry Moore’s sculpture, Large Torso: Arch. The movement of large sculptures in the Kansas City Sculpture Park requires rigging, large equipment and an understanding of the physics of heavy lifting....Rose Daly
A brisk fall morning was a good time to move Henry Moore’s sculpture, Large Torso: Arch. The movement of large sculptures in the Kansas City Sculpture Park requires rigging, large equipment and an understanding of the physics of heavy lifting. Rigging refers to a system of moving objects by using straps and pulleys, and rigging is commonly used in theater production and the movement of large museum objects.
]]>
here). The rigging included straps, without knots, to pick up the heavy sculpture, which weighs around 500-750 pounds. The absence of knots in the straps is important because knots reduce the amount of weight that can be suspended.
Members of the Conservation department were on hand to observe, document and offer advice on this project. After measuring a few straps and making some adjustments, Large Torso: Arch was lifted off the ground, but lifting was only half of the process! After the sculpture was lifted it was carried down the hill, the driver being careful to stay off the Park’s grass while also keeping the sculpture above ground, level and steady. The sculpture was then placed down slowly on a wood palette and strapped to a truck.
The sculpture was navigated through the Museum and deposited in the spray booth in the Objects Conservation Lab. The spray booth is separated from the rest of the conservation lab, and has a separate ventilation system, making it an ideal place to work on large projects like this sculpture.
Rose Daly, objects conservation graduate intern, will spend the winter treating the sculpture, which will involve removal of the current synthetic coating, application of new coating, and preparation for the reinstallation in the Sculpture Park during the spring. She will update the Nelson-Atkins blog with her progress. ]]>
Expanding Opportunities: Scholarship Program for Studio Art Classestag:www.nelson-atkins.org,2010:/blog//3.4402010-10-14T17:24:26Z2010-12-22T20:29:31ZPromoting art and art engagement is an important purpose of the Nelson-Atkins, and a wide variety of classes, open to students ages 3-17, is offered each session in the Ford Learning Center. Some of these studio art class options have...Melissa Kleindl
classes, open to students ages 3-17, is offered each session in the Ford Learning Center. Some of these studio art class options have been featured in earlier blog posts.
However, the classes are not always affordable for all students and families. The Nelson-Atkins recognizes this fact and reaches out to Kansas City youth and families through community programs and partnerships, as well as through The Nelson-Atkins Museum of Art Scholarship Program for Studio Art Classes.
How Does it Work? Who Benefits?
• The Scholarship Program provides opportunities for children to participate in art classes regardless of their financial circumstances.
• Scholarship students participate in classes free of charge.
• Partial scholarship students pay only 50% of class fees.
• Annually, 10-15% of students enrolled in Museum studio art classes receive scholarships.
]]>
Perhaps the best way to understand the value of art classes and the Museum’s Scholarship Program is to hear from those who have experience with them. Shaun Henderson recently shared his thoughts on how studio art classes and the Scholarship Program have impacted his two young daughters:
…Riana & Ayana…have benefited tremendously from the Ford Learning Center program. I have noticed a positive change in their focus, creativity, and interaction with other children since being a part of the program. I am overjoyed each time Riana’s art work is displayed, and she gets so excited seeing it exhibited. I appreciate all the great teachers you have at the Nelson-Atkins Museum, and they seem to be so passionate about their work. The Museum has given such a great opportunity for Riana & Ayana in allowing them to attend classes. I know I did not have the income to send them, but the Museum has opened a passion inside of them in developing their own understanding of art and allowing them to practice their skills. My oldest daughter Riana continues to read, and watch DVDs of artists whose work she has learned about and seen at the Museum….Riana loves the clay class, but also enjoys drawing, fabric, and photo classes. I appreciate the classes for my 4 year old Ayana, so she can enjoy the fun with her sister.
For more information, please visit the Museum’s Community Programs page and this fact sheet for frequently asked questions about the Scholarship Program, as well as contact and application information.
Have you or your children participated in a studio art class at the Nelson-Atkins? Are you or your children current or former Scholarship Program students? Please share your experiences with us!
]]>
How Long is Forever?tag:www.nelson-atkins.org,2010:/blog//3.4412010-10-11T20:13:05Z2010-12-22T20:30:08ZAlthough contemporary artists often respond to works from the past, the artist Clare Twomey has taken that dialogue to new levels—one that engages the Museum’s audiences and asks them not only to consider the role of art in their lives...Jodi O-K
has taken that dialogue to new levels—one that engages the Museum’s audiences and asks them not only to consider the role of art in their lives but also to participate in the exhibition Forever.
When Clare visited the Nelson-Atkins three years ago, the British artist was fascinated by the Burnap Collection, especially the breadth and depth of its 1,345 objects.
Although she found the teapots and figurines compelling, the work that really spoke to her was a two-handled vessel for caudle (a wine, milk and spice drink). We call it the Sandbach Cup, because it is inscribed “Mrs Mary Sandbach her Cup Anno Dom 1720”. The Cup has a special place in the history of British ceramics—one that might seem a little esoteric to some people, but was tremendously important in the history of ceramic technology in Britain.
]]>
Cup signifies a change in technology—the low-fired ceramic wares that most of us use in our daily lives was replaced by this medium-fired and much stronger ware. Many of the pieces of studio pottery that we see is of stoneware—known for its heavy weight and durability.
Clare was also struck by the language in the Deed of Gift that the Museum signed with Harriet and Frank P. Burnap in 1941. The Deed shows the value that the Burnaps put on their collection—not financial, but rather emotional value. They even specified how they wanted the pieces to be handled and cared for and thought about how the pieces would be used in the Museum and who would see them. The most important requirement is that the works will be held by the Museum “in trust forever.”
In thinking about responsibility and permanence, Clare created the poetic and site-specific installation Forever. Although she authored the 1,345 objects, they were produced by the Hartley Greens & Co. Leeds Pottery in northern England, using 18th century techniques of slip-casting for the bowl and hand-craftsmanship for the handles and finish. In keeping in her interest in preserving traditional crafts, Clare chose Leeds Pottery because it has been in existence, using the same skilled techniques, since 1770. The Cup was reproduced 1,345 times to illustrate the sheer number of works the Burnaps collected and donated to the Museum. It is impressive to see the enormity of the whole gift laid out in one place.
I had the good fortune to be able to listen to Clare discussing the concept behind the installation. Walking from the Burnap Collection (on view in Gallery P12) to the Bloch Building three years ago, Clare was struck by the modernity and timelessness of the Sandbach Cup which somehow also spoke to the contemporary nature of Bloch Building. For her, this journey illustrated the strong and continuing connection between the past and the future.
Clare talked about why she chose the Cup: it is “a gentle work yet extremely demanding.” She would like people to slow down and reflect upon the nature of acquisition, ownership and the responsibility one has as an art owner as they view the installation. Clare drew attention to the significant shift that must have occurred for the Burnaps – at what point did their acquisitions cease to be “shopping” and become a collection? She would like visitors to Forever to think about the differences between collecting, shopping and acquiring.
What makes Forever different from most museum exhibitions is that visitors will not only be able to view the vast display of cups – each with individual surfaces and unique numbers – they will also have the opportunity to become owners themselves. To become an owner, visitors must complete and sign a Deed in the gallery—and agree to care for their Cup forever.
The Deed asks potential owners to consent to the same kinds of rigorous terms as the Nelson-Atkins agreed to in the Burnap deed. For instance, owners must permit their Cup “to be reasonably available for inspection and examination by all serious-minded students and experts desiring to inspect or examine it.”
For Clare, the concept of “forever”, while seemingly definite, is actually quite imprecise. She explained it this way, “If you are 13 waiting at the bus stop, 20 minutes is forever. If you look at your life time, you hope that is forever. If you fall in love, you hope that’s forever. The word forever is what everyone must undertake.” It’s a demanding word. To keep and care for a collection forever is a very long time, indeed.
If you are lucky enough to be selected as an owner of a Cup, you will see your name on the label next to your new possession. You are now loaning your Cup to the Nelson-Atkins! They will remain on display in the gallery until the exhibition closes in early January. Then, you must return to the Museum, submit your Deed and collect your Cup. Next comes the hard part—where are you going to display your Cup? Clare would like to know and she also wants to know why you wanted a Cup. You can answer these questions, and further participate in Forever, by posting images or comments describing why you wanted to be an owner on the Forever webpage. Click here for more details.
]]>
The platter was cleaned with acetone solvent to remove as much of the dirt and overpaint as was safely possible. As she slowly cleaned, using a wooden stick and cotton tip soaked in the acetone, Garland pointed to areas around the platter’s edges where restorers added paint over the original glaze. ]]>
The photo to the left shows a blank spot on the platter’s rim where Garland rubbed and scraped away all of the overpaint. Revealed is what appears to be red clay, which Garland believes is part of the original platter. Reddish-colored clay is also visible on the bottom of the platter (pictured below) in areas where portions of the original glaze have chipped away.
The platter has some cracks and fills that are visible to the naked eye, especially on the bottom where white portions of clay (the fills) can easily be found. However, these cracks and fills are more dramatic when seen on an x-ray (below). X-rays often surprise conservators because they show details that are not evident on the object’s surface. Cracks, fills, and even a “healthier” condition can all be revealed.
Though Garland hoped that all of the pieces seen in the x-ray were portions of the original platter and not added by restorers—and, based on the clean breaks and closely matched portions on the exterior, it seemed possible that the original pieces are all present—on the interior of the platter are jagged edges that suggest areas where restorers added fills.
Acetone solvents can be useful in removing fills, but, unfortunately, on this platter an epoxy may have been used, which meant that platter fragments and fills could not be removed without causing damage. There is a strong possibility that removal of a piece, even if softened by acetone or some other material, will break off another, original fragment or result in original glaze loss. Further complicating matters is the knowledge that some of the glaze loss could look, on the x-ray, like fragments or cracks. As a result, some questions about the condition of the platter will likely go unanswered.
However, there are instances when ingenuity has trumped seemingly irreversible materials. Garland referenced an experiment recently conducted by Senior Associate Conservator Paul Benson: in an attempt to safely soften and remove several layers of materials used to restore a bowl, Benson created two vapor-chambers—one chamber to remove one type of restoration material, a second for other materials. He left fragments sealed (with kitchen tinfoil and plastic wrap) in the chambers for several days and then gauged the progress.
A similar chamber-system would probably not have been effective on Garland’s platter, so her focus shifted to adding fills to broken areas and repainting. This took a substantial amount of time and required, like most projects, many conversations between conservator and curator to determine specific details, such as how much painting should be done and where.
The paint materials that conservators use have been tested and shown to resist discoloration. And they are easily reversible. Among the paints used are premade artist’s acrylics as well as dry color pigments, including mica powder colored by metal (the same type used in car paint), and watercolors. The dry pigments are mixed using an acrylic resin in a solvent. Colors vary greatly, and time and patience is needed to create a mixture that best matches the original.
One of Garland's favorite experiences as a conservator is seeing an object on display, knowing that she added fills or overpaint to it, and being unable to locate those areas because all details are so seamlessly integrated.
For information about other conservation projects, click here or visit the Conservation webpage.]]>
During her examination, Jiafang found evidence of previous restoration. She pointed out areas where that work is more obvious, including cracks in artificially painted glaze as well as differences in enamel paints, design and texture.
]]>
Jiafang noted areas where a previous restorer covered some of the original decorations with overpaint in order to hide a new-fired 20th-century clay shard underneath it. These clay fragments are sometimes, but not always, visible to the naked eye. For example, in the detail photo above, look to the right of the sitting figure where 3 yellow shapes are near an earlier restorer’s white clay. Some of these new-fired clay fragments were poorly done; air bubbles formed during the firing and broke out onto the glazed surface.
Jiafang further explained that the decoration done by the restorer does not always match the original design. Look closely at the image to the right: Notice the black lines and colors don’t quite match where the 20th-century restorer “improved” the design. While areas above the eyes of this sitting figure were discovered to be part of the original design, Jiafang realized that the robe was covered by the 20th-century restorer with a grayish-colored paint.
Nelson-Atkins conservators remain busy with a variety of projects. For information about them, click here, and visit the Conservation department webpage.]]>
I went to observe the pick-up process and talk to some of the owners. Everyone I spoke to was very excited. One woman was picking up the Cup for her son-in-law who lives in another part of the country. She will be the caretaker of his Cup until he is able to collect it. She was very excited about having a work of art in her home, even for a short period of time. However, she will keep the Cup in her curio cabinet to prevent her dog from chewing on it.
Owners may pick up their Cups through Sunday, Jan. 9. Click here to share stories and photos of your Cup on our website.
]]>
Synthetic coatings are usually applied every 5-10 years, depending on where the sculpture is located outdoors, whether scratches to the coating will be repaired, and whether the coating will be regularly maintained or covered with an additional wax coating yearly. This sculpture was last coated with Incralac in 1987, and this coating has been maintained by applying yearly wax coatings over the Incralac. We hope the coating we will apply will last for close to as long as the previous coating.
Removal can be done in a few ways, but most commonly the coatings are removed by applying a solvent to the surface of the coating, then the coating is dissolved and absorbed with a cloth. As an experiment, I wanted to see if the wax or Incralac coatings could be removed with pressurized steam. I chose this method because it would be more environmentally conscious than using large quantities of solvent, and it is safer for me, the conservator. The fumes of the solvents that are used to remove coatings are dangerous and I must wear a respirator and work in an area with good ventilation.
The pressurized steam is effective at removing the wax coating and removes some of the Incralac. The wax can be pushed by the steam and will collect in a line (as shown in the image to the left) which is then wiped off the sculpture with a cotton cloth or dusted off with a toothbrush. Because this method pushes wax off the sculpture, I wear a face shield and lab coat (shown above) to protect me from flying particles of hot wax. The steam effectively reaches the wax in the tool marks on the sculpture.
The more time I spend with the sculpture, the more intricacies I discover in the surface that add another layer to the aesthetic. The sculpture is a beautiful form with a fantastic profile; it also has an amazing textured surface, and when it is examined up close it reminds me of canyons. I spent the afternoon in the Henry Moore sculpture arcade looking at the details of the tool marks in Moore’s sculptures, and it was much warmer than the Sculpture Park.
]]>
The sun was starting to set so the trees and sculptures were casting long shadows.
Even with a good number of people milling about, the Park seemed more quiet and peaceful than usual.
I found a new vantage point to view the East Sculpture Terrace.
The Bloch Building is known for its magical nighttime glow, but the sun can make is shine like a diamond.
The southeast corner of the Park is called the bowl.
Henry Moore’s Reclining Connected Forms sits in a secluded area right off the busy street at the corner of Rockhill Road and Cleaver Blvd.
During construction of the Bloch Building, many of the trees on the east side had to be removed.
The trees in this section were saved, and they are some of my favorites, including the one that is growing sideways across the path.
It looks like it has some extra support these days.
I’ll leave you with a view of what I call “the granddaddy tree” that stands alone on the south end near Moore’s Sheep Piece.
The temperature is supposed to be mild this week. The Sculpture Park is open during daylight hours.
]]>
The object was not so lovely when removed from storage. It was extremely dirty and tarnished. In the image to the right, taken during the cleaning, notice the marked contrast between the clean and dirty portions. Benson explained that his primary goal was to simply get all of the caked-in dirt out of the design. He also recognized signs of early restoration via traces of white, powdered silver polish, which was evident in the object’s delicate grooves. The powder needed to be removed because it absorbs moisture, which would cause the metal to deteriorate. Because the design is so dainty, a microscope was necessary to see and effectively remove the dirt and polish powder. A toothbrush, pin and acetone solvent were other invaluable tools in the process, and gloves were always worn when handling this object to protect the metal from skin oils.
Simply removing the dirt created stunning results, but optimum visual appeal was important so Benson spent time removing tarnish. Some remains on the object, but that is aesthetically appropriate given the object’s age. Limiting the amount of scraping and polishing done is also a protective precaution. Even so, the amount of tarnish removed is not insignificant. To the left is shown one of the two large (previously white) towels used to clean the object. These towels were blackened on both sides.]]>
The quantity, materials and historical importance of the Burnap Collection guided Twomey’s installation. Because there are 1,345 objects in the Burnap Collection, there are 1,345 cups in the exhibition Forever. She also chose to replicate one of the objects, the Mary Sandbach Cup (shown above), explaining, “It’s a standout piece in the collection, a saltware-glazed piece that is [well known from] the collection.” The Cup “could bear translation as well. Lots of the objects may have become too kitsch, may have become too decorative. So this Cup, could survive translation to become a modern, contemporary-looking vessel, which it now looks in the Project Space.”
Since the works in the Burnap Collection were principally produced in Stoke-on-Trent in Staffordshire, Twomey chose to collaborate with a historic ceramic manufacturer there. The Cups are cast in creamware, which she explained is a traditional British clay, and each Cup has a backstamp that denotes these connections.
For Twomey, the process of producing 1,345 replica objects is exciting, and she appreciates the craftsmanship of each Cup because despite their seeming similarities, each one displays the “touch of the maker.”
Twomey firmly states that she feels no emotional attachment to the individual Cups “because the project was always intended to be outward” and the real life of Forever comes into play when a Cup is taken home by a visitor who has committed to keep and care for a Cup forever: “The work is dead until the labels start filling up. Until the work goes to people’s home[s], the work is incomplete.”
Twomey says, in closing, that this project—as with all of her installations—opens up “the thread of investigation.” I am certain Twomey will continue to explore, investigate, and produce thought-provoking exhibitions, as well as learn from them. She explains, “The reason I make work is to find out more. I will find out more by this work being made and that will influence what I make in the future and what I do.”
The exhibition is open until January 2, 2011.]]>
Senior Conservator Kate Garland has been working to restore a 13th-14th-century Islamic ceramic vase. It is an archeological piece, like most of the Islamic pieces in the Museum’s collection. Most were found with varying degrees of breakage—this vase, in particular, had broken into 50 pieces.
But why bother restoring a vase in such condition?
]]>
They were also poorly painted, rough, and did not at all match the vase’s glazed surface. In a later conversation, Garland further stated, “the disfiguring old repairs were so distracting that it was difficult to appreciate the grace and beauty of this exceptional vase.”
Garland worked carefully to take apart the vase, separating each of the “original” 50 pieces and carefully removing all previously-used restoration materials. The conservation photograph to the left shows gaps where restoration materials had been, and blue tape marks each of the vase’s 50 pieces. Garland then reassembled the vase pieces using materials and methods that are safer, look better and will be easier to reverse, if needed, in the future.
All of the new materials have been scientifically tested and proven to resist changing colors or properties as they age—unlike the old materials that darkened, discolored and became more brittle. A paper pulp/powder mixture, with acetone as a solvent, was used in fills because of its strength and pliability. When heated up a bit, the mixture flexes and can be manipulated. [For those interested, the specific products included Sigmacell® Cellulose, Type 20; Glassmicroballon; Paraloid B72 (An Ethyl methacrylate copolymer) in 1:1:1 mixture]
Garland insists that no really new or novel techniques were used in restoring this vase, but she did reveal some of the creativity required in conservation work: the impressive scientific equipment is invaluable, but useful tools also included a hair dryer, toothbrush and a steam cleaner. The hair dryer was used to heat the paper mixture and make it pliable. The toothbrush gently brushed away residue, and the steam cleaner—the same type used to sterilize dental instruments—provided a precise, yet gentle, jet of steam that helped clean out breaks and remove the old animal glue.
From start to finish—with intermittent pauses in work because of other projects—Garland spent nearly 8 months completing the restoration. Look closely at the conservation image (to the left) of the newly restored vase (note also that the vase tilts very slightly). Compare it to the earlier restoration image (above, of the same side). The fills now blend in more seamlessly with intact portions of the vase, and evidence of restoration activity is significantly less visible.
]]>
The second image that caught my eye was Two Indians Killing a Buffalo. The tight composition places the action at the center, filling most of the sheet. The danger of killing a large, wild animal is mitigated by the graceful ballet of the men, the horses and the buffalo.
The twisting bodies of the men as they lean in to spear the animal are contrasted by the rearing of the horses and the downward motion of the buffalo as it attempts to break the attackers’ circle. Men and animals create a flowing rhythm that is mesmerizing.
The show stopper for me was Snake Female Reposing. This sketch is included in the section titled Influences beyond the West, which explains that Miller trained in Europe in 1833 and 1834 where he attended the École des Beaux-Arts in Paris and traveled to Rome and Florence to study and copy Old Master paintings.
Snake Female Reposing uses the European tradition of reclining women posed to enhance their allure. The small composition is very intimate and extremely sensual. The woman sleeps on a fur blanket under a tree with her body twisted so that her legs face away from us. We see her bare ankles and the bottoms of her feet, but her torso is flat on the ground, while her head turns towards the viewer, resting on her forearms.
Her full, dark hair falls down her back and covers part of her face. Her delicate features are accentuated by points of light that fall on her cheekbone and the tip of her nose. A canopy of a blanket is held by a low tree branch to protect her from the weather. A source of light comes from the right side of the composition behind the tree as if the sun is rising. A pair of teepees shrouded in mist and haze in the background lends the scene a dreamlike quality.
As romantic as the subject matter is, it is equally mysterious. Was she lured into the wilderness by some animal or spirit? Did she fall asleep contemplating the heavens? Will she awaken with the dawn and return to her village refreshed and renewed after her respite with nature?
While I prefer a more romantic reading of Snake Female Reposing, Assistant Curator of American Art Stephanie Knappe describes a somewhat darker meaning in the exhibition catalogue:
“America, an exotic land perceived by would-be colonizers as inviting conquest, was often personified as an Indian maiden. For Miller, his patron Stewart, and others…, the West was a new and foreign world, and the Snake woman may have embodied a range of Romantic fantasies associated with it.”
It would be easy to spend hours in Romancing the West studying all of the paintings in greater detail. Be sure to make time for a visit. The exhibition is open through January 9, 2011.
Nelson-Atkins Kress Fellow conservation intern, Jiafang Liang, has been busy conducting a survey of the Islamic ceramics (shown to the left is a view of the workspace). The survey’s purpose is to provide details about the composition, authenticity, and condition of each object, determine treatment, and estimate time needed for labor to make an object display-ready. When the survey is complete, conservators and curator will prioritize the objects and their needs.
]]>
Special equipment is used during the survey process, including an x-ray flurescence spectrometer, or “XRF” gun (shown to the right), long-wave ultraviolent light and x-rays. The XRF gun is used to help determine elemental compositions, like the materials that make up a glaze. Ultraviolet light can reveal restoration materials (or fills), the presence and type of surface painting, and the original surface. Some paint types contain elements that glow or “fluoresce” under UV light. Overpaint on fills usually fluoresces differently compared to original areas, which tend to be dark and non -fluorescing. Additionally, adhesives previously used to connect broken shards show up clearly under UV light. 
X-rays are useful for detecting the density of materials and can also locate restoration, cracks, joins and other structural strengths or weaknesses.
The survey process is revealing. Liang shared several objects with obvious and less-obvious cracks and restoration work. Cracks on the bottom of a large bowl appear to have been taped (shown above), and some other restoration work is evident in the paint: on the bowl’s rim, paint discoloration (a different shade of blue) shows where a previous restorer worked. 
A second bowl, from Kashan in Iran, was thought to have been heavily restored, based on a visible layer of brown film on top of the glaze. The bowl (to the left) would have originally been white with blue and black bands. Liang explained that through the survey and consultation with their contracted scientist, John Twilley, they learned that little restoration had been done to this bowl. The brown film layer is actually a naturally-occurring deterioration of the glaze.
Appearances can be deceiving in other ways, too. Liang pointed to a 12th-century dish for holding condiments (to the right) that appeared to be in great condition. However, an x-ray of this bowl showed extensive cracks—as if it had been smashed!—and reassembly. Apparently this is a common condition of Islamic ceramics because most pieces were found in excavations.
Information about a project influenced by the survey and undertaken by Senior Conservator Kate Garland will follow in a later post!]]>
Members of the Conservation department were on hand to observe, document and offer advice on this project. After measuring a few straps and making some adjustments, Large Torso: Arch was lifted off the ground, but lifting was only half of the process! After the sculpture was lifted it was carried down the hill, the driver being careful to stay off the Park’s grass while also keeping the sculpture above ground, level and steady. The sculpture was then placed down slowly on a wood palette and strapped to a truck.
The sculpture was navigated through the Museum and deposited in the spray booth in the Objects Conservation Lab. The spray booth is separated from the rest of the conservation lab, and has a separate ventilation system, making it an ideal place to work on large projects like this sculpture.
Rose Daly, objects conservation graduate intern, will spend the winter treating the sculpture, which will involve removal of the current synthetic coating, application of new coating, and preparation for the reinstallation in the Sculpture Park during the spring. She will update the Nelson-Atkins blog with her progress. ]]>
The Nelson-Atkins recognizes this fact and reaches out to Kansas City youth and families through community programs and partnerships, as well as through The Nelson-Atkins Museum of Art Scholarship Program for Studio Art Classes.
How Does it Work? Who Benefits?
• The Scholarship Program provides opportunities for children to participate in art classes regardless of their financial circumstances.
• Scholarship students participate in classes free of charge.
• Partial scholarship students pay only 50% of class fees.
• Annually, 10-15% of students enrolled in Museum studio art classes receive scholarships.
]]>
Perhaps the best way to understand the value of art classes and the Museum’s Scholarship Program is to hear from those who have experience with them. Shaun Henderson recently shared his thoughts on how studio art classes and the Scholarship Program have impacted his two young daughters:
For more information, please visit the Museum’s Community Programs page and this fact sheet for frequently asked questions about the Scholarship Program, as well as contact and application information.
Have you or your children participated in a studio art class at the Nelson-Atkins? Are you or your children current or former Scholarship Program students? Please share your experiences with us!
]]>
When Clare visited the Nelson-Atkins three years ago, the British artist was fascinated by the Burnap Collection, especially the breadth and depth of its 1,345 objects.
Although she found the teapots and figurines compelling, the work that really spoke to her was a two-handled vessel for caudle (a wine, milk and spice drink). We call it the Sandbach Cup, because it is inscribed “Mrs Mary Sandbach her Cup Anno Dom 1720”. The Cup has a special place in the history of British ceramics—one that might seem a little esoteric to some people, but was tremendously important in the history of ceramic technology in Britain.
]]>
Cup signifies a change in technology—the low-fired ceramic wares that most of us use in our daily lives was replaced by this medium-fired and much stronger ware. Many of the pieces of studio pottery that we see is of stoneware—known for its heavy weight and durability.
Clare was also struck by the language in the Deed of Gift that the Museum signed with Harriet and Frank P. Burnap in 1941. The Deed shows the value that the Burnaps put on their collection—not financial, but rather emotional value. They even specified how they wanted the pieces to be handled and cared for and thought about how the pieces would be used in the Museum and who would see them. The most important requirement is that the works will be held by the Museum “in trust forever.”
In thinking about responsibility and permanence, Clare created the poetic and site-specific installation Forever. Although she authored the 1,345 objects, they were produced by the Hartley Greens & Co. Leeds Pottery in northern England, using 18th century techniques of slip-casting for the bowl and hand-craftsmanship for the handles and finish. In keeping in her interest in preserving traditional crafts, Clare chose Leeds Pottery because it has been in existence, using the same skilled techniques, since 1770. The Cup was reproduced 1,345 times to illustrate the sheer number of works the Burnaps collected and donated to the Museum. It is impressive to see the enormity of the whole gift laid out in one place.
I had the good fortune to be able to listen to Clare discussing the concept behind the installation. Walking from the Burnap Collection (on view in Gallery P12) to the Bloch Building three years ago, Clare was struck by the modernity and timelessness of the Sandbach Cup which somehow also spoke to the contemporary nature of Bloch Building. For her, this journey illustrated the strong and continuing connection between the past and the future.
Clare talked about why she chose the Cup: it is “a gentle work yet extremely demanding.” She would like people to slow down and reflect upon the nature of acquisition, ownership and the responsibility one has as an art owner as they view the installation. Clare drew attention to the significant shift that must have occurred for the Burnaps – at what point did their acquisitions cease to be “shopping” and become a collection? She would like visitors to Forever to think about the differences between collecting, shopping and acquiring.
What makes Forever different from most museum exhibitions is that visitors will not only be able to view the vast display of cups – each with individual surfaces and unique numbers – they will also have the opportunity to become owners themselves. To become an owner, visitors must complete and sign a Deed in the gallery—and agree to care for their Cup forever.
The Deed asks potential owners to consent to the same kinds of rigorous terms as the Nelson-Atkins agreed to in the Burnap deed. For instance, owners must permit their Cup “to be reasonably available for inspection and examination by all serious-minded students and experts desiring to inspect or examine it.”
For Clare, the concept of “forever”, while seemingly definite, is actually quite imprecise. She explained it this way, “If you are 13 waiting at the bus stop, 20 minutes is forever. If you look at your life time, you hope that is forever. If you fall in love, you hope that’s forever. The word forever is what everyone must undertake.” It’s a demanding word. To keep and care for a collection forever is a very long time, indeed.
If you are lucky enough to be selected as an owner of a Cup, you will see your name on the label next to your new possession. You are now loaning your Cup to the Nelson-Atkins! They will remain on display in the gallery until the exhibition closes in early January. Then, you must return to the Museum, submit your Deed and collect your Cup. Next comes the hard part—where are you going to display your Cup? Clare would like to know and she also wants to know why you wanted a Cup. You can answer these questions, and further participate in Forever, by posting images or comments describing why you wanted to be an owner on the Forever webpage. Click here for more details.
]]>