Currently on view in the museum atrium is Hidden in Plain Site, a monumental art work that includes four canvases. Artist Sedrick Huckaby wanted to celebrate the artistic merit of his grandmother’s quilts and explore the idea of quilts containing hidden messages. The process used by the artist to create this and other works was directly inspired by the collages of Romare Bearden, some of which are featured in the special exhibition Romare Bearden: A Black Odyssey now on view through August 11, 2013.
Hanging a large-scale piece takes many hours of planning and collaboration. The project began four months before the works even came into the museum. Jim Belknap, Installation Manager, visited Huckaby’s studio to look at the paintings and get an idea of what it would take to hang 300 pounds of wood, canvas, and paint on the walls of the museum. Not only was the safety of the art at stake, but the integrity of the delicate shell stone walls in the museums’ atrium were an important issue during the installation.
A framework system was constructed on which the paintings were hung. (The design and build process took two months.) Framework and paintings would then hang on a pulley-and-cable system that was attached to a bronze channel already installed in the wall. The original channel proved to be too deep and new metal channel inserts had to be created to hold the bolts for the pulley/cable system.
Installation started on a Monday at 8 a.m. and was completed by 6 p.m. The work had to be completed before the museum reopened on Tuesday morning. This project required four professional art handlers, two registrars, two contractors, three lifts, and a step ladder from the Teaching Resource Center. The artist was on hand during the last hours of the installation and he didn’t seem at all worried about his creation. The result is a wonderful marriage of art, careful planning, and precision engineering.
Hidden in Plain Site will be on view until October 31, 2013. Don’t miss it!
I have had the great pleasure of spending the past two days at the library doing a preservation assessment of the print collections. A preservation assessment is a tool for the library to use to determine what they're doing well to preserve their collections, and plan for improvements in the future. This assessment was funded by a grant from the National Endowment for the Humanities.
There are a few reasons that having a preservation assessment is important for libraries and archives. The first is that it serves as an internal tool for the library to determine and prioritize the next steps in their preservation program. The second, and possibly more important, is that the assessment report will make the case for the importance of preservation to stakeholders outside the library. This can be anyone from the museum's administration to users who advocate for the library, to potential funders for some of the projects I'll recommend.
I like to think that almost every facet of the library's operations has preservation implications, so this project has me looking at everything from the building's environment to the condition of the materials to disaster planning and security. Over the course of my visit, I have talked with lots of staff members about the collections and the building, and spent hours in the stacks looking at all of the library's wonderful materials. (And oh boy, do they have some wonderful materials!) Now, I'll take my research home with me and produce a written report for the library detailing all of my findings and recommendations.
I'll close by saying that the library and its staff are doing a terrific job of caring for a beautiful collection. It's a real treat for me to visit a library that obviously understands what they need to do to preserve their collections, and I'm delighted that Sam, Jon and Mary Jane have invited me here to be a part of that process.
Adjunct Preservation Field Services Officer
Amigos Library Services
The Museum’s conservators have rehoused its two prized daguerreotypes by Southworth & Hawes. [Two women posed with a chair], going on view this June, and [Child, asleep, with one arm raised] (both ca. 1850) were acquired in 1999. They came to the museum each in a modern displayable package that consisted of glass glazing, a mat board spacer, the daguerreotype, and mat board backing; a package in which they were housed until recently.
Rehousing the daguerreotypes gave Sylvie Pénichon (Photograph Conservator) and Tatiana Cole (Fellow in Photographs Conservation) the opportunity to fully examine and document the condition of the bare daguerreotype plates under different types of illumination and under magnification. Some of which are described below.
Coaxial illumination (above left) allows for imaging of surface characteristics of a daguerreotype (above right) without distracting reflections from its mirror-like surface. Illumination with ultraviolet light can sometimes reveal residual chemistry, for example from initial processing of the image or previous treatment, and it can also show the presence of degradation products. However, examination under ultraviolet light revealed none of the above on the Museum’s two daguerreotypes.
Photomicrographs, i.e. images taken under magnification (as shown above), allow conservators to closely monitor any possible changes experienced by the delicate image material of the daguerreotype, which is composed of microscopic silver and mercury amalgam particles often coated with gold. One common type of degradation is characterized by a nucleus surrounded by a white haze (below left). Fingerprints perhaps belonging to the photographer himself may also be found (below right).
Photomicrographs also help to record hallmarks, which are blind stamps that identify the plate manufacturer or photographic supply house, and hold extremely useful information for researchers. A number, such as the “40” shown below, refers to the amount of silver to copper present in the daguerreotype plate. The particular hallmark shown below (from [Child, asleep, with one arm raised]) also identifies the plate as one of the most widely used French plates available between ca. 1850-1858.
After detailed documentation and imaging, the daguerreotypes were safely rehoused between two plates of highly stable and optically clear borosilicate glass, with a polyester tray that borders the daguerreotype plate (below left). The tray acts as a spacer that prevents direct contact between the delicate image surface and the glass. The glass on both sides gives researchers visual access to both the front and back of the daguerreotype plate. It also minimizes the amount of hygroscopic (moisture loving) materials, such as mat board, present within the package. Lastly, special tape is used to bind the new package components together. A schematic diagram shows a cross-section of the new housing (below right).
With new sealed packages, proper exhibition and storage conditions, and close monitoring by conservators, Southworth & Hawes’ exquisite images will be preserved for generations to come. Be sure to come see [Two women posed with a chair] on view this coming June.
Library staff recently unearthed what turns out to be an extremely rare example of an illustrated booklet from Raymond Lufkin (1899–1978). Lufkin published Drawings for Books, Magazines, and Advertisements around 1940 to promote his illustration services while living in New York's Lower East Side. Divided into two parts, "Drawings for Publishers" and "Drawings for Advertisers," the booklet showcases the range of his talent. What strikes me is how deftly he juxtaposes images, often with poetic effect. Below I show my favorite pairing: one page shows a swan gliding on a tranquil blue background, while the opposite page features an engraving showing a small boat in a turbulent storm. Not only do the images ironically relate in terms of subject, but also in terms of color: calming blue and aggressive black and white. Only two libraries, the research library at the Amon Carter, and the American Antiquarian Society, report having the title. Lufkin was an illustrator of prolific achievement active in the United States from the early to mid twentieth century, illustrating over fifty books and hundreds of advertisements. Lufkins' accomplishments also include several mural commissions for businesses in New York and work as as a camouflage artist during World War I.
The museum's research library is exhibiting a copy of Laura McPhee's large photobook Guardians of Solitude, offering a chance for visitors to compare the book with a companion photograph now on display in the exhibition Big Pictures. The limited edition book marks the inaugural publication of Iris Editions in London and translates McPhee’s engagement with large-scale photographs into a book format. The images in this work document the regeneration of the landscape following a devastating fire in 2005 that ravaged an area of over 40,000 acres in the White Cloud Mountains Region in central Idaho. The sequence of photographs collectively demonstrates the interplay of destruction and creation following the fire. The special exhibition Big Pictures features McPhee’s photograph, Understory Flareups, Fourth of July Creek, Valley Road Wild Fire, Custer County, Idaho, 2005, depicting the fire as it was happening.
Lots of friends are making their way to the Amon Carter this week for our spring break Family Fun Week! Come look at art, talk about art, even make some art to take home.
Admission is free and strollers are welcome.
There is even more to a big picture than what meets the eye. For starters, who prints the photograph and how, how is it mounted, and then how is it safely transported, stored, and preserved?
When a photographer or artist decides on a large format for his/her photograph, the negative or digital file is often sent to be printed by a professional printing studio with appropriately large printers. The studio will print and often fully mount the photograph onto a rigid support to minimize physical distortion experienced by the print while in transit and/or on display.
Then there is the question of how one safely transports such a large object. Custom crates are made, placed on a truck (or airplane) with controlled air conditioning and relative humidity, as well as lifted air suspension for a smoother ride, and then chaperoned by professional art movers and museum couriers all the way to the work's final destination.
Once at the museum, crates require room for storage, and the art work must be moved by multiple staff members on an A-frame cart.
As more and more artists print big, new demands are set on museum storage space. Photographs may be stored upright, as imaged below, or in over-sized, horizontal map cases.
Finally, art conservators face new challenges. For example, they are charged with the task of staying well educated about ever-changing mounting adhesives, substrate materials, and printing technologies. When working with large objects, conservators need a large working space, additional lighting equipment, and a different setup for photo documentation. And often times, conservators have to get creative-altering traditional conservation approaches to make them appropriate for big pictures.
One of the great pleasures of being an archivist at an art museum is getting the chance to deal with manuscript materials. It is archival collections that contain the letters, diaries, scrapbooks, etc. that document an artist's life and work. It allows a researcher first-hand access to the artist. So, with great excitement, we recently had the opportunity to acquire, through the generosity of Charles Smith, the archive of Kelly Fearing.
Fearing was part of the Fort Worth Circle of Artists, primarily active in the 1940s and 1950s, who brought modernist ideas and techniques to the Fort Worth area. The Fearing archive has manuscript material spanning his Fort Worth period on into his later distinguished artistic and educational career at the University of Texas at Austin. The archive, once organized, will allow researchers to delve into Fearing's art, associations, and the milieu he worked in. It joins other private papers and records at the Amon Carter, including Fort Worth Circle artists Bror Utter, Marjorie Johnson Lee, Flora and Dickson Reeder, and Blanche McVeigh.
Photo Above: Unprocessed Kelly Fearing Papers