Cuatro [4]: A Series of Artist Interactions, presentando a Danette Montoya
If you prefer, you also can read this in English.
If you prefer, you also can read this in English.
Celebra tu creatividad y cultura cada primer sábado del mes con actividades bilingües para toda la familia. Visítanos el 1.º de octubre y participa en las siguientes actividades.
Estudio de Movimiento (Edificio Hamilton, Nivel 1)
Experimenta con el movimiento en nuestro Estudio de Movimiento. Explora cómo los artistas se expresan y se inspiran por el movimiento usando varios materiales y técnicas para crear obras de arte.
If you prefer, you also can read this in English.
Gracias a una beca del Institute of Museum and Library Services (IMLS), el Denver Art Museum trabajará con cuatro artistas locales para presentar el programa Cuatro [4]: A Series of Artist Interactions durante el próximo año. Los artistas crearán proyectos inspirados en nuestra colección de arte precolombino y arte colonial español. Nos complace darle la bienvenida al primer artista de la serie, Carlos Frésquez, un artista célebre chicano y nativo de Denver.
Nuestra cuentista, Laura Slack, ha relatado historias acerca de las obras de arte de DAM por más de un año durante nuestro programa Cuentos del Arte, el cual se lleva a cabo el primer sábado de cada mes durante CelebrARTE. ¡Este verano, Laura contará sus cuentos en español! Laura es muy graciosa, energética y llena de sorpresas. El mes pasado tuve el placer de charlar con Laura acerca de su carrera como cuentista y su experiencia en DAM. Esto es lo que aprendí:
You may have recently seen Scottish Angus Cow and Calf—the larger-than-life bronze sculptures by artist Dan Ostermiller—getting their annual summer bath. Above and beyond their cleaning with a specialized mild detergent, the Cow and Calf sculptures needed other treatments, including re-patination and waxing, due to the constant physical interaction they receive from the public.
In English
El equipo de los Programas Culturales Latinos del Denver Art Museum se asoció con su amigo de hace mucho tiempo Jesús Fuentes para producir una serie de videos en español que ofrecen una mirada interna a lo que ocurre diariamente en el museo.
The highly realistic sculpture Linda by Colorado artist John DeAndrea has been a visitor favorite at the Denver Art Museum since it became a part of the collection in 1984. Linda is also an important work of contemporary art in which DeAndrea made innovative use of a material that was fairly new to art at the time: plastic. This is why Linda is of such interest to us in the museum’s conservation department. This is a material that has not yet stood the test of time, and we watch Linda carefully to understand how the plastic is aging.
In preparation for Creative Crossroads: The Art of Tapestry (now closed), the museum’s staff have been working on a Spanish Colonial table cover in PreVIEW (a behind-the-scenes visible staging area in our textile art gallery).
Curators have examined it and explored its history, and textile art conservators have been testing and repairing the tapestry. Follow this series of blogs to track their progress.
Conservation treatment of King Caspar is almost finished. Having completed the structural portion of the treatment which included filling cracks, repairing broken elements, and stabilizing loose joints, I moved on to the aesthetic portion of the treatment. The goal of this part of the treatment was to unify the overall appearance by filling areas where the paint and/or gesso was lost to bring them to the same level as the surrounding surfaces.
My initial examination revealed that the sculpture of King Caspar was in poor condition. Many of the wooden joints were loose; some pieces were broken and missing. The paint and barniz chinesco surfaces were actively flaking and the sculpture was very grimy. In collaboration with curator Donna Pierce, I designed a treatment plan that will restore the structural stability of the sculpture so that it can be handled, studied, and displayed safely. We also decided to pursue aesthetic compensation so that it can be effectively understood as a devotional object.
One of the first steps of any conservation treatment is to closely examine the object, creating written and photographic records of its current state. Conservators do this using a variety of tools and methods. I started to examine King Caspar by looking closely under normal light. Then, I began to change the angle and intensity of light, eventually adding magnification (via a stereomicroscope). I also examined the sculpture under ultraviolet illumination to observe UV-induced fluorescence.
Thanks to a generous grant from the Foundation of the American Institute for Conservation, funded by the Samuel H. Kress Foundation, administered by the Foundation of the American Institute for Conservation, the Denver Art Museum is conserving an eighteenth-century Ecuadorian statue that is part of the DAM's Stapleton Collection of Latin American Colonial Art.
Courtney Murray, the Samuel H. Kress Fellow in Objects Conservation at the Denver Art Museum, is documenting her conservation treatment in a four-part series you can find here.