Janelle Beasley, Works on Paper Preparator, Eskenazi Museum of Art
In pursuit of a new level of care for the works-on-paper collection at the Eskenazi Museum of Art, I recently attended an introductory course in paper conservation at the International Preservation Studies Center (IPSC). Located in the small town of Mount Carroll, Illinois, the IPSC offers more than 75 courses in collections care and historic preservation. Since its founding in 1980, the center has become a wonderful resource for museum professionals, archivists, librarians, and all those tasked with preserving historical artifacts.
As the works-on-paper preparator at the EMA, my primary duty is to mat and frame the collection of prints, drawings, and photographs for exhibition and storage. Museum standards include using archival materials, framing the works with UV-filter glazing, and limiting their exposure to light. Given that paper degrades over time (to varying degrees depending on its quality), these preventative measures are crucial to prolonging the life of an object.
A damaged object, however, may require intervention by a conservator to improve its condition. In addition to internal degradation, paper can suffer from external sources such as poor storage conditions, exposure to light or humidity, acid migration, wear and tear, pollutants, and pest infestation. The instructors of “Care of Paper Artifacts,” Susan Russick and Tonia Grafakos of Northwestern University Libraries, provided a framework for understanding these issues as well as basic conservation treatments, including mending with Japanese tissue and wheat starch paste, surface cleaning, humidification and flattening, adhesive removal, and deacidification.
One benefit of attending the IPSC is getting to know other collections professionals. Our class of ten included representatives from a wide variety of institutions, such as the Whitney Museum of American Art, the U.S. Bureau of Engraving and Printing, and the Walt Disney Archives. All of us shared the common goal of providing care to the paper artifacts in our collections. Now that I am back in Bloomington and the museum is closed for renovations, I am focusing on re-housing works, updating data, and making minor repairs for a portion of the collection. Working with the EMA’s collection of 22,000 works on paper (and counting), it is safe to say there will always be a need for care.
As the IU Eskenazi Museum of Art prepares for a $30 million renovation, set to be completed by 2019, we are often asked why the renovation will take a full two years. Part of the answer is the monumental task of packing and moving a major collection of art. To explain the process better, Emma Kessler, the museum’s curatorial assistant for the Arts of Africa, Oceania, and the Americas gives us an inside look into the process.
Due to the $30 million renovation of the Sidney and Lois Eskenazi Museum of Art at Indiana University set to begin this summer, we must move our collection of more than 45,000 objects to an off-site facility. While the museum closed its doors to the public on May 15, the packing of the collection, which began last year, will continue. It will take many months to safely move the collection so that the renovation can begin, and many months after the renovation is completed to reinstall the collection.
The packing process began its planning phase over a year ago. Given its size, as well as the value, fragility, and diversity of objects, the museum’s collection requires a packing process that is organized and executed in a very precise manner. Packing began with our African, Oceanic, and Americas (AOA) collection and is now underway with our holdings of ancient art, Asian art, works on paper, and European and American paintings and sculptures.
The first step in this process is a complete inventory of the collection. While inventories are done periodically, and a record is kept any time an object is put on display, loaned to another institution, or otherwise moved, surprises still pop up, especially when doing something as comprehensive as moving the entire collection piece by piece. To complete the inventory, every storage unit, shelf, and drawer was checked against both computer and paper records to make sure everything is up-to-date. It is also important to ensure that every object has a photograph accompanying its record in our database, as well as a physical tag recording the object’s accession number. A packing report is made for each object as well. It is displayed on the box or crate made for that item, allowing for easy identification while in storage.
Once the inventory process is complete, each object requires a condition report. With every object in our collection being moved, it is necessary to assess condition before packing, moving, and storage for an extended period of time. While this is a time-consuming process, it has a number of benefits, including aiding in future conservation efforts and drawing attention to any specialized care an object needs when being packed or during storage. For example, in 2014 we acquired a fantastic collection of art from Kenya. Among these objects are a number of skirts and aprons made from animal hide, a material that is quite susceptible to mold. Therefore, these items (and others like them) will need extra monitoring to make sure there are no issues.
After the inventory and conservation examination is complete, an object is ready to be packed. Whenever an item is moved or packed a digital record is created in our database, along with a backup paper record. We discovered that during this process it is extremely important to have someone on site who knows the collection well. As the curatorial assistant for the African, Oceanic, and Americas collection, I have been spending my days in the storage area recording each item and assisting with any additional questions, including those concerning numbering issues, materials, safe packing practices, and various oddities. Some issues may not occur to someone unfamiliar with the collection. For example, certain objects need to be packed together, while others need to be packed alone.
The actual packing of objects may sound very straightforward: you take the object, wrap it in bubble wrap, put it in a box, and move on to the next object, right? However, it is nowhere near that simple. The objects in the museum range in size, shape, material, and fragility, and the objects in the African, Oceanic, and Americas collection are some of the most diverse. They range in size from six-foot masks to 0.2-inch gold weights. There are also a wide variety of materials, including wood, fiber, bone, shell, feathers, hair, metal, and plastic. Often a single object will include several different materials. The size, shape, and materials used as well as any condition issues need to be taken into account when packing the object.
While some items fit into standard size boxes, many require the creation of a specialized box or crate. While they may look like simple large boxes from the outside, they are very intricate on the inside, with close attention paid to every detail. The object must be secured in such a way that there is no chance of it moving around as the crate is transported. As a result, each crate has a number of specially made supports for the particular object it holds. In addition, the materials used for these supports (or anything that touches the object) must be of archival quality and acid-free. Also, the materials used can vary considerably based on the individual qualities of the object that is being packed. Some items in our collection have sticky materials on their outer surfaces—for these objects tissue paper will not work, as it will stick to the object. Instead, a soft archival fabric-like material is used. While this is a lengthy process, it has some added benefits, as we have been able to improve our storage methods in many ways. For example, within our textile storage, new containers and protective coverings were created for all of our leather and hide objects. This is an improvement over how they were initially stored.
Within our encyclopedic collection of more than 45,000 objects there are a myriad of different sizes, materials, and individual needs when packing and storing the collection. While it is a monumental challenge to pack up a collection of this size, it is also an opportunity to reassess our holdings and improve methods of storage and care for our collection. In that way, it is a great moment for ensuring that our collection will be properly preserved and available for Indiana University students, visiting scholars, and the general public for years to come. We look forward to unpacking our collection and reinstalling it in the newly renovated museum to provide a new way for everyone to engage with original works of art.
Ever wonder what goes into planning and installing an exhibition at a museum? Today’s blog post answers that question. Emma Kessler, curatorial assistant for the Arts of Africa, the South Pacific, and the Americas, takes us through the process of envisioning and installing the museum’s new Focalpoint exhibition Hats as Materials of Cultureon view now through May 7, 2017 in the museum’s third floor gallery of Arts of Africa, the South Pacific, and the Americas.
The Raymond and Laura Wielgus Gallery houses the Eskenazi Museum of Art’s collection of art from Africa, the South Pacific, and the Americas. While the vast majority of the objects in this gallery remain on continuous display, the Focalpoint section features a series of rotating exhibitions. Here we create two or three exhibitions a year on a range of topics. Recent displays include the art of ancient Peru, a look at fakes and forgeries, costumes and ornaments from New Guinea, and an investigation into tradition and authenticity in Native American art.
When deciding on a new Focalpoint exhibition, we first consider whether the topic can be linked to another exhibition, an event occurring on campus, or a new collection that has come to the museum. Our current Focalpoint, Hats: Materials of Culture, corresponds with the course Art, Craft, and Technology in Sub-Saharan Africa, which is being offered by the Department of Art History this spring. Even after the topic was selected, there was still a lot to narrow down. For example, would the exhibition look at one type of material or one kind of technology? One of the ideas I considered was a focus on beadwork. I would have looked at a wide range of objects from across Africa and made by a variety of peoples, but out of a single material—beads.
In preparation for Focalpoint, I put together several proposals, one for each of my exhibition ideas. They included 20 to 30 objects that could be used in the exhibition along with a short paragraph of the ideas and topics that could be addressed. Interestingly, this step in the process often reveals whether or not an exhibition will work. As it turns out, the beadwork idea did not work. While the objects were extremely interesting, they did not work together as well as I had hoped. As it turned out, a different idea worked much better—to create an exhibition centered on a single object type, but featuring a wide range of materials and a number of different techniques. In this case, the object type was hats.
Image: Iran, Qajar Dynasty. Horse and Rider, 19th century. Tile; stonepaste (fritware) with polychrome glaze. Gift of Dr. and Mrs. Henry R. Hope, Eskenazi Museum of Art 62.183
The Eskenazi Museum of Art’s collection includes forty-seven ceramic objects from the Islamic world dating from the ninth to the nineteenth centuries. These encompass all major forms – bowls, jars, pitchers, platters, and tiles – as well as some less common types such as human and animal figurines. Particularly notable are sixteen pieces of “cobalt-and-luster” ware, a type of pottery associated with the site of Raqqa, Syria, in the early thirteenth century. Acquired by the museum during the 1960s and 1970s, to date this extremely important and attractive collection has not been studied in any depth, nor have the majority of the pieces from it ever been published. Margaret Graves, Assistant Professor in Indiana University’s Department of Art History, and Judith Stubbs, the Eskenazi Museum of Art’s Pamela Buell Curator of Asian Art, are now undertaking a project to research this collection, through a grant awarded by Indiana University’s New Frontiers in the Arts and Humanities program.
Image: Syria, Raqqa. Albarello, early 13th century. Stonepaste (fritware) with cobalt decoration under a transparent glaze and luster overglaze painting. H. 10 x 5 1/2 in. (25.39 x 13.96 cm). Eskenazi Museum of Art 72.6.5
This project will include a technical investigation of all pieces in the collection using techniques such as UV and X-ray analysis, thermoluminescence testing, and conservation analysis. Additionally, Graves will be publishing scholarly articles about her research on this collection, and an online catalogue of the collection will be created. When completed this project will represent a significant addition to the field of Islamic art, and will mirror similar efforts recently undertaken by other museums, including the Metropolitan Museum of Art and Harvard Art Museums.
We will continue to share news from this exciting research happening at our museum as it is completed.
Image: Iran. Aquamanile [Water Vessel] in the Form of a Ram, ca. 1170-1200. Stonepaste with luster painting over an opaque white glaze. H. 5 3/4 x W. 2 in. (14.6 x 5.07 cm). Eskenazi Museum of Art 60.58
The IU Art Museum’s conservation department purchased an Osiris infrared camera in 2015 with funds awarded to the museum from the Allen Whitehill Clowes Charitable Foundation. The infrared images made with the camera allow conservators to look through the surface paint layer of a painting at any underdrawing. This is used to understand the artist’s process and is a unique tool in authenticating works of art as well. WTIU’s program The Weekly Special interviewed Margaret Contompasis, the IU Art Museum’s Beverly and Gayl W. Doster Conservator of Paintings, and Conservation Assistant Ellen Lyon, about the new camera, and their current project analyzing twenty-nine paintings in the IU Art Museum’s permanent collection attributed to the nineteenth century American painter Thomas Chambers. Watch the video below. For more information you can also read a feature about the new camera at Inside IU.
Last month IU Art Museum painting conservation technician Ellen Lyon attended a week-long technical art history workshop at the University of Delaware, taught by Brian Baade and Kristin deGhetaldi. The workshop was sponsored by the Samuel H. Kress Foundation to highlight the working methods of Early Italian tempera painters. Each participant created a small-scale reconstruction of a 14th century Italian egg tempera painted panel by Giovanni Del Biondo from the Kress Collection at the Museo de Arte de Ponce, Puerto Rico (The IUAM has its own Kress Collection of 14 works, a 1961 gift of the Kress Foundation, many of which are on permanent view in our first-floor gallery.)
The Biondo panel of the Hebrew Prophet was originally part of The Coronation of the Virgin high altarpiece in the Oratorio di San Lorenzo at San Giovanni Valdarno in Arezzo, in the Tuscany region of Italy. The outer pinnacle on the right wing (outlined in blue) is the Hebrew Prophet featured in this years’ workshop.
The reconstruction is made to reveal the many layers below the image that are needed to create this type of work. The artist and/or studio began with a sanded and sized wooden panel and each subsequent layer on the reconstruction shows one or more steps in the process:
2. Animal glue sizing
4. Gesso grosso
5. Gesso sottile
6. Scraped gesso
7. Underdrawing with charcoal and then reinforced with black ink/incised lines/red bole
8. Burnished gold and areas of underpainting
9. Finished painting and punchwork added to gilding
Ellen’s reconstruction (photo to the left) shows each of these layers as a vertical band, enabling viewers to see clearly the order in which these materials were applied.
In the fall, Ellen will be sharing her workshop experience, finished panel, and pigment set with Tavy Aherne’s class, Artists’ Materials and Techniques. There are future plans for a presentation to the IUAM docents and a Noon Talk that will be open to the public. Please watch our calendar for the date.
Debra Hess Norris, chair and professor of Art Conservation at the University of Delaware describes the program in this way: “Since 2009, the University of Delaware has been awarded a series of grants from the Samuel H. Kress Foundation to support the design and creation of digital and physical historically accurate reconstructions of selected paintings from the Kress Collection. Use of these didactics and associated lesson plans, as well as sample sets of historic pigments and their raw materials available upon request from the Kress Foundation, will inform and inspire scholars, students, and the general public about the making of art and the value of technical art history.”
We are happy to welcome David A. Brenneman as the new director of the Indiana University Art Museum beginning July 1. In commenting on his appointment, Brenneman said “I feel immensely proud and honored to be the next director of the Indiana University Art Museum, one of America’s top university art museums. I will succeed a distinguished and esteemed colleague in Heidi Gealt, and I am delighted to take the reins of such a noteworthy collection and excellent staff from her. I foresee a very bright future for this important cultural treasure house. Over the summer, I look forward to getting to know the staff and friends of the museum as well as the larger university community and to settling into Bloomington with my wife, Ruth, and two children, Ivy and Leo.”
David Brenneman received his PhD in art history from Brown University and also graduated from the Getty Museum Leadership Institute in 2004. He brings more than twenty years of experience at art museums and almost thirteen years as a senior administrator at the High Museum of Art in Atlanta, where he was most recently the director of collections and exhibitions. Among his many accomplishments at the High, he led the curatorial team that planned and executed the 2003 renovation and reinstallation of the museum’s Richard Meier-designed building, as well as the 2005 installation of the permanent collection in Renzo Piano-designed galleries. In addition, he worked with Emory University art history faculty to secure a Mellon Foundation grant to fund object-centered research by Emory University graduate students, and he led the Louvre Atlanta project, a three-year series of exhibitions and programs from the Musée du Louvre in Paris.
Following a national search, David Brenneman becomes the fourth director to lead the museum since its founding in 1941. Henry Radford Hope, the museum’s first director, and his successor Thomas T. Solley established the museum’s encyclopedic collections. Brenneman succeeds Adelheid (“Heidi”) M. Gealt, whose accomplishments include leading the museum in the development of programming to engage the university and local communities.
Both collections and engagement are important to Brenneman: “Museums need to be a part of their communities and to reflect and lead the diversity and ideals of the communities they serve,” he said. “Bloomington attracts faculty and students from around the world. The IU Art Museum ‘s collection is special because it contains masterpieces from throughout human history and from all corners of the earth– and just about everybody’s background is relfected.