Q&A with Ladies Fancywork Society
Update: Click here (PDF) for Untitled #60 (Signature) program. RSVP on Facebook.
Update: Click here (PDF) for Untitled #60 (Signature) program. RSVP on Facebook.
The New World department has a comprehensive display of pre-Columbian artifacts from Central, Meso-, and South America located in the Lila Wallace-Reader’s Digest Study Gallery of Pre-Columbian Art on Level 4 of the North Building. Objects in this space are made of clay (ceramics), metals, wood, and stone and served a utilitarian, decorative and religious/spiritual purpose. Often, all three functions were rolled into one.
Untitled #58 (Getup) at the Denver Art Museum on June 28 included a performance from the vivid imagination of artist Nick Cave, whose work is currently on view in the exhibition Nick Cave: Sojourn. A number of choreographers and local dancers collaborated with Cave to bring his works to life through dance. The performance also included a demonstration by the artist of his process for creating his signature Soundsuits.
Nick Cave transforms mundane, often-overlooked, and under-appreciated bric-a-brac into objects of undeniable aesthetic value that ask us, as viewers, to reconsider how we see the world we live in. In the spirit of this approach, we decided to pose a handful of questions to Cave that might seem at first to be simple or strange, but in the end yield surprising insights. Dozens of artworks that Cave created are on view in Nick Cave: Sojourn now.
Denver Art Museum: Do you have a favorite word? If so, what is it, and what do you like about it?
The idea of reversibility is a very important concept in modern conservation practice. I chose materials with good and known aging characteristics, understanding that my work may need to be removed and/or redone, in the future. It is important that my conservation treatments are reversible. I know that the adhesive I chose to bond the original and lining canvases could be separated in the future and will not cause further harm to the artwork.
Now that I’ve reduced the distracting bumps caused by the previous lining adhesive, I must now re-line the picture to another auxiliary canvas support. I was hoping not to have to re-line the picture, but it was not possible to locally mend the tear since the fibers along the tear edges were too frayed and weak.
It’s now time to move onto the structural phase of the conservation treatment for the Canaletto work. Structural work entails further securing of any loose media, such as paint or ground, and any repairs if necessary to the canvas and stretcher. Our Canaletto was lined in the past, which means that the original canvas was adhered to a secondary canvas. There are a variety of reasons historically why paintings were lined, but in the case of the Canaletto it was most likely due to the tear in the original canvas.
After many hours and consultations with Timothy, cleaning is complete. I am always amazed at how much more one sees of a picture once the discolored varnish is removed—subtle details in the composition become visible and the picture's overall sense of depth is enhanced.
I’ve been cleaning the Canaletto, taking my Q-tips to the surface and gently removing all of the restorer-applied discolored varnish and overpaint. Upon removal of some overpaint, an area discussed in our earlier video post, I discovered a turret, or tower. This is a pretty exciting discovery. While it doesn't make a lot of visual sense in the context of the painting, it is nevertheless interesting and makes one wonder if it was overpainted in the first place because it didn't work or if there was some other reason.
It's likely you have a photograph, painting, illustrated card, or drawing that just doesn't look the same as it did when you first brought it home. Heck, you probably have a shirt that isn't as bright as it once was and maybe there's a stain or two on it reminding you of a not-so-graceful moment. The world is a tough place and the effects of temperature, light, water/humidity, and other humans mark us and our things without fail.
Now that the painting has gotten a thorough check-up and health assessment by the curatorial and conservation teams, it is time to decide how best to treat it.
In the beginning of the summer, I began working at the DAM. Since then, I have been reviewing objects selected for upcoming textile art exhibitions to determine the conservation treatments that will be required and ensuring that necessary supplies and equipment are on hand to perform the treatments. I am undertaking the conservation of textile-based collections in the Margaret Page Conservation Laboratory in the lower level of the Hamilton Building.