WHAT SHOULD I BE DOING INSTEAD OF THIS?
 
 
by Cassie Lipp 02.03.2016 8 days ago
Posted In: Arts community, Visual Art at 12:00 PM | Permalink | Comments (0)
 
 
syqpt7lrcvoxxp6krgaes4eelp8o6u0yghtpm8tpabw,ittmqlhsianbfzwnlxzcvjmbcodldft_lfhlfe5dg8w

Slice of Cincinnati: Cincinnati Art Museum's Conservation Department

It’s the 15th century, and remnants of the Middle Ages hang over Europe as it unknowingly waits for the Renaissance. In the dim candlelight somewhere in Spain shines an altarpiece painted to depict the lives of St. Peter and Jesus Christ along with images of the Virgin Mary and other saints. With its impressive strokes of paint and gold and silver leaf, Lorenzo Zaragoza’s “Retablo of St. Peter” is remarkable to behold. More than 600 years later, the altarpiece rests under the skilled hands of Cincinnati Art Museum’s chief conservator Serena Urry. With only the clack of museum visitor’s shoes disturbing the quiet peace, the setting resembles the serenity of the piece’s original home. Zaragoza’s piece has stood the test of time, more or less. While it has been admired by thousands of Cincinnati Art Museum visitors since the museum purchased the piece in1960, it was taken off exhibit in 2010 due to its poor condition. It is now back on exhibit through April 24, as visitors can watch Urry bring the retablo to life again through cleaning all 18 of its panels. It’s a two-in-one exhibit, giving visitors an insider’s look at the work done by the museum’s conservation department while they view and learn about the piece. Established in 1935, the museum’s conservation department is one of the oldest in the country. Since then it has grown from one part-time paintings conservator to four professionally trained conservators, each of whom have their own specialization in paintings, paper, textiles or objects. The department is in charge of conserving the museum’s entire collection (with the exception of works that are on loan to the museum). Urry proposed the exhibit because the retablo needed to be treated before it could go back on view in the galleries. However, this is no small task — the retouching is not expected to be complete for another few years. On view in the exhibit is only the first step of the process: cleaning and consolidating. “Museums usually put conservation on view to the public when the work of art is simply too big to remove it from the gallery or garden,” Urry says. Before the retablo was taken off exhibit, it was the only piece in the room it occupied. Conserving a work of art like the retablo first involves examining them closely under infrared and ultraviolet light. Ultraviolet light reveals differences on the painting’s surface that are not visible to the naked eye; infrared light reveals what is underneath the paint on the ground layer. Urry says determining the full condition of a piece of art before beginning its conservation treatment is the hardest part of conserving art. The two most important tenants that guide painting conservation are reversibility, which ensures that nothing will be done to the work that cannot be removed later, and dissimilarity, which means suing conservation materials that are not found in the original painting. Of course, Uri’s conservation efforts are not the first for the retablo. With a piece of art this old, it is common for there to be many years of retouching — the first effort to conserve the retablo may have occurred around the early 1500s. It is believed that the central sculpture of St. Peter was created to replace the original lost piece. Urry’s work includes using a variety of solvents, hand tools and a hot air gun to remove the effects of older retouching campaigns, such as discolored varnish and wax. This includes a layer of wax added by the Art Museum in 1960 to contain flaking. Since then it has become clouded with dust and grime, and the wax tinted to match the gold leaf of the painting has discolored to a greenish metallic hue. After cleaning, painting conservation also involves structural treatments, such as modifying or replacing the canvas, its lining and stretcher. There may also be surface treatments done to conserve paintings, such as filling losses of paint, toning the fillings and adding layers of varnish. “All of the paintings in a multi-piece work like this should be worked on together to ensure consistency,” Urry says. “The gallery space gives me an opportunity to have all of them on view as they are conserved.”
 
 

The Best Art Exhibits of 2015

0 Comments · Wednesday, December 30, 2015
From an accessible aquatic-themed show to installations that emphasized the importance of light, the Queen City saw fantastic and diverse exhibits in 2015, some of which are still on view.   
by Steven Rosen 11.05.2015 98 days ago
Posted In: Visual Art at 04:14 PM | Permalink | Comments (0)
 
 
barron_mapplethorpe

FotoFocus Takes its Mapplethorpe Symposium on the Road

After a successful symposium here last month, FotoFocus is taking its Robert Mapplethorpe presentation, The Perfect Moment: 25 Years Later, on the road. (The Cincinnati symposium was called Mapplethorpe +25.) In observance of the 25th anniversary of the unsuccessful obscenity trial in Cincinnati of the Contemporary Arts Center following the exhibition of The Perfect Moment there in 1990, FotoFocus will sponsor a panel discussion at 7 p.m. at New York’s cutting-edge New Museum, 235 Bowery. It will be moderated by Kevin Moore, FotoFocus’ New York-based artistic director, and feature Amy Adler, law professor at New York University School of Law; Jennifer Blessing, senior photography curator at Solomon R. Guggenheim Museum; Paul Martineau, associate curator of photographs at the J. Paul Getty Museum in Los Angeles; and Britt Salvesen, curator of the Wallis Annenberg Photography Department at Los Angeles County Museum. The latter three were on a panel in Cincinnati. Further information about FotoFocus can be found at fotofocuscincinnati.org. Additional information about the Mapplethorpe + 25 symposium can be found at mapplethorpe25.org.  
 
 
by Steven Rosen 05.13.2015
at 02:17 PM | Permalink | Comments (0)
 
 
cr

Cincinnati Art Museum's James Crump Re-Emerges with a New Film

James Crump, the Cincinnati Art Museum's chief curator/photography curator who was a key figure in the planning and programming of the first FotoFocus festival in 2012 and then resigned from the museum in early 2013, has re-emerged as the director of a new documentary, Troublemakers: The Story of Land Art. It tells the story, with plenty of archival footage, of three restless New York artists in the who — as part of the 1960s/1970s rebellion against materialistic values sweeping American culture — sought to create epic art that was one with the outdoor environment, especially in the open and hard-to-access spaces of the west. That, they thought, would make it hard to buy and own. Robert Smithson created "Spiral Jetty" in Utah, Walter De Maria made New Mexico's "Lightning Field," and Michael Heizer did "Double Negative" in Utah and is still working on "City." (The other two are deceased.)Other artists featured in the film are Nancy Holt (who has an environmental artwork at Miami University), Dennis Oppenheim, Carl Andre and Vito Acconci. In an exchange of emails with CityBeat, Crump said he is hoping for the film to show at festivals and then get a limited theatrical release in fall, followed by availability on other distribution platforms. He also said his sales agent, Submarine Entertainment, represented Citizenfour and Finding Vivien Maier.Before coming to Cincinnati, Crump made a documentary about Robert Mapplethorpe's relationship to Sam Wagstaff, Black White + Gray.He has provided CityBeat with a link to Troublemakers' trailer:Trailer courtesy Summitridge Pictures. © RSJC LLC, 2015.
 
 

Architectural Allure

Peter Waite's new paintings explore the city's strange and famous places

0 Comments · Wednesday, May 13, 2015
In his Cincinnati Series of 29 paintings depicting depopulated city sites, Peter Waite — a Connecticut-based artist — neither celebrates nor dismisses what he sees  

Oh, the Places You'll Go with Dr. Seuss

0 Comments · Wednesday, May 13, 2015
You’re a sneaky one, Dr. Seuss. With entertaining drawings, simple words and rhythmic rhymes, you taught us how to read.   

Upcoming Price Hill Thrill to Tour Area's Art Studios

0 Comments · Wednesday, May 6, 2015
To quote from one of the classic songs released by Cincinnati’s King Records, “There’s a thrill up on the hill — let’s go, let’s go, let’s go.”  

Contemporary Arts Center Announces 2015-16 Shows

0 Comments · Wednesday, April 29, 2015
Mark Mothersbaugh and Robert Mapplethorpe are the marquee names for the Contemporary Arts Center’s 2015-16 exhibition season, which will feature four additional shows.  

Past, Present, Future

CAC reworks its edges with a new lobby and two exhibits on time and space

0 Comments · Wednesday, April 29, 2015
Blah concrete no longer dominates the Contemporary Arts Center lobby. But, ironically, a gray palette defines one of two new exhibits coinciding with the redesign of the 12-year-old space.  

How to Collect Art in a 'Share' Economy

0 Comments · Wednesday, April 22, 2015
The role of art collecting in the emerging (and possibly illusory) “sharing economy” has yet to be set, but the local experiments with community ownership/financing of artworks keep growing.  

0|1
 
Close
Close
Close