Category Archives: Behind the Scenes

The Model That Smokes


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Hiroshi Sambuichi, Inujima Art Project Seirensho, 2008, wood and acrylic model, incense; 1:50; Courtesy of Hiroshi Sambuichi

A particularly fascinating model on view in White Cube, Green Maze: New Art Landscapes is by Sambuichi Architects of a transformed copper refinery, or seirensho, on the Japanese island of Inujima. The Inujima Art Project Seirensho is a museum dedicated to preserving and reusing the remains of the refinery, as part of the broader Benesse Art Site.

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Iwan Baan, Aerial view of Seirensho and the island of Inujima, 2008, digital chromogenic print; Courtesy of Iwan Baan

The refinery features a large chimney that originally served as an industrial smokestack but it has since been repurposed into a chimney that connects to the building’s underground passageways, creating a natural ventilation system. Sambuichi Architects has included two small chambers on the front of the model that are designed to hold lit incense coils, sending smoke throughout the model’s passageways, over a scale figure, and eventually escaping out of the clear acrylic chimney stack.

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Lighting the incense coils, which burn for up to 8 hours. We’re using this kind.
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Placing the incense chambers into the front of the model.
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Incense smoke blows past the scale figure towards the chimney, illustrating the airflow in the repurposed refinery.

White Cube, Green Maze is open through January 13, 2013. Come see this model and over 20 others from six international art sites.

The exhibition presents works by:

Raimund Abraham (New York City); Tadao Ando (Osaka); Arquitetos Associados (Belo Horizonte); Tatiana Bilbao (Mexico City); Rodrigo Cerviño Lopez (São Paulo); Rudolf Finsterwalder (Stephanskirchen); Erwin Heerich (Düsseldorf); HHF architects (Basel); Oliver Kruse (Hombroich); Johnston Marklee (Los Angeles); Ryue Nishizawa (Tokyo); Rizoma Arquitetura (Belo Horizonte); Hiroshi Sambuichi (Hiroshima); Álvaro Siza Vieira (Porto); TOA (Taller de Operaciones Ambientales, Mexico City); Topotek 1 (Berlin); Weiss/Manfredi (New York City)

Restoring the Urn of Life


urnscaifeGeorge Barnard Grey’s Urn of Life, now on view in the Scaife Galleries.

ORIGINS OF THE URN

The Urn of Life (c. 1898–1900)  is the unfinished repository for the ashes of Anton Seidl, the Hungarian composer and conductor of the Metropolitan Opera in New York. Upon Seidl’s death, a group of the composer’s friends asked American sculptor George Grey Barnard to design his funerary urn. Barnard agreed to the commission and worked on the urn for two years. However, before Barnard could complete the sculpture, the original patrons decided the urn was too large, accepting instead a smaller model of one of the figures. The unfinished urn remained in Barnard’s studio until 1908 when he included it in an exhibition of his work at the Museum of Fine Arts in Boston.

originalurnThe original urn as it appeared in 1908, with four large, chiseled feet. Also, the structural support behind the female figure’s head on the left no longer appears on the work. From the archives of the Museum of Fine Arts, Boston.

The urn was purchased by Carnegie Institute in 1919, and today it looks markedly different from when it arrived here in Pittsburgh. Still an unfinished work at the time, the smooth, conical section at the bottom was very roughly textured with point chisel marks and had four large, lobular feet that extended outward from the bottom edge. A letter from the Carnegie Institute archives from then director John Beatty to Barnard mentions: “Your man expects to finish the base on the Urn of Life tomorrow….” And thus the urn was given the form that is visible today.

DSCF1169Conservation technician Tasha Mowery begins the long restoration process.

THE RESTORATION

It had been quite a long time since the urn was on view here at the museum, and our curatorial staff decided it would be a nice addition to the newly renovated Scaife Galleries. At the time of the treatment, the white Carrara marble had become dark greenish-gray with embedded dust and soot; it had likely never been cleaned. Cleaning tests were conducted on the surface of the marble, starting with dry cleaning methods such as vacuuming and rubbing with powdered white vinyl eraser crumbs. Most conservators prefer to start with dry cleaning methods, as the use of cleaning liquids are a comparatively much more aggressive method. Vacuuming did remove a small amount of surface particulate and the eraser crumbs were found to reduce the ingrained dust and soot, but the eraser crumbs were difficult to apply and control on vertical surfaces and in tight recesses.

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Restoring the marble to its original color.

Through systematic testing we were able to develop a cleaning solution which selectively lifted away the dust and soot and left the marble unharmed. The most effective way to loosen the deposits was by poulticing the marble surface with a cotton pad soaked with the solution for several minutes and then gently scrubbing the area with cotton swabs, cotton pads, and soft brushes. Residues of the cleaning solution and any remaining dust or soot particles were cleared from the surface with a pressurized industrial steam generator which directs a concentrated jet of steam from a nozzle. While much of the sculpture had a smooth surface which could be more easily cleaned, there still remained large areas where the tooth chisel and point chisel texture remained. The layer of dust and soot was extremely tenacious in these areas, and they needed to be poulticed numerous times for extended periods. But after many hours and thanks to the hard work of conservation technician Tasha Mowery, we were able to restore the urn to its original color.

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Installing the nearly 1650-pound (!) urn in the newly renovated Scaife Galleries.

BACKGROUND

Born in Bellefonte, Pennsylvania, in 1863, Barnard attended the Art Institute of Chicago and from 1883 to 1887 worked in Paris while attending the École des Beaux-Arts. He lived in Paris for twelve years, exhibiting for the first time in the Salon of 1894. After returning to America in 1896, Barnard began to enjoy a successful career as a commissioned sculptor. Greatly influenced by Rodin, his major sculptures appear in cities throughout the eastern United States, including New York, Cincinnati, and Louisville. Among these are the monumental Carrara marble figural groups (completed in 1912) that flank the entrance to the Pennsylvania State Capitol Building in Harrisburg. Barnard once remarked that his work on the Urn of Life guided him in the creation of these much larger works—”I found the seed which, when I planted, grew into the two compositions known as ‘Labor’ and ‘Love’ on either side of the Capitol…” Barnard died in 1938 and was buried in Harrisburg.

barnardBarnard working on The Hewer, one of his best known works, first exhibited at the 1904 St. Louis World’s Fair. This photo appeared in World’s Work in 1902, not long after the Urn of Life was completed.

 

Interview with Cory Arcangel


Cory Arcangel: Masters opens this weekend—check out this video where Cory and I talk about his newest work, The AUDMCRS Underground Dance Music Collection of Recorded Sound, a collection of over 800 techno LPs, available for listening on turntables in the Carnegie Library in Oakland.

A choice selection of video works of the last ten years will be on view in the museum, including the film Dazed and Confused, re-dubbed by phone bank operators from Bangalore; a supercut video of cats playing the piano; and the now almost-famous modified Super Mario Brothers video game.

Cory will be here at the museum for a live performative artist talk called Selected Single Channel Videos this Friday November 2, 2012 at 6:30 pm. And the best part, its FREE!

 

 

Installing the Modern World


Worlds Fair-5253Inventing the Modern World: Decorative Arts at the World’s Fairs, 1851–1939 is officially on view at Carnegie Museum of Art. The exhibition is a massive undertaking, the largest exhibition of decorative arts and design at the museum in nearly a decade. We’ve received a number of queries as to how we actually did it.

Worlds Fair-5191While some may say it takes a village to mount an exhibition like Inventing the Modern World, in this case it took more of a sprawling urban center. We owe thanks to a large network of talented individuals—including our colleagues in the Exhibitions, Registrars, Conservation, Publications, and Technology Initiatives departments, our skilled professional art handlers, our generous co-organizers at The Nelson-Atkins Museum of Art, and a host of dedicated outside contractors—all of whom were truly invested in creating this knockout exhibition.

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Co-organized by the Carnegie Museum of Art and The Nelson-Atkins Museum of Art (NAMA), the genesis of the exhibition extends back more than a decade. When chief curator Jason Busch and NAMA curator Catherine Futter were researching the topic over the last four years, they traveled across the globe on multiple trips, scouring museum collections for the most stylistically and technologically innovative objects exhibited at the fairs between 1851, the first international exhibition in London, and the 1939 New York World’s Fair. With such a large number of examples to choose from, each object had to earn its space on the exhibition checklist. (See some of the highlights.) We worked hard to secure loans, negotiating with museums and private collectors on shipping, insurance, and display requirements.

Once the checklist was finalized, comprising nearly 200 objects from 45 lenders across the globe, it was time to start thinking about the layout for our venue. Jason and I worked with NAMA exhibition designer Amanda Ramirez for nearly a year to plan the layout and design of the show. At the same time, we were working with our Publications department to finalize the exhibition catalogue and beginning to compose the 200+ wall labels and text panels for the exhibition.

elevation1 floorplanSample elevations and floorplan of the exhibition’s entry gallery

For a show that was more than a decade in the making, we had only seven exhilarating weeks to deinstall the previous exhibition, prepare the galleries for construction, build new walls and platforms, paint, and install exhibition furniture as well as 238 objects—all while primping the galleries with final touches for opening weekend. Here’s a peek at what we’ve been up to leading up to the exhibition opening.

P1090143Weeks 1–2: Once the previous exhibition was deinstalled, it was time to clean the galleries and prepare for new construction. The space transformed quickly as the fantastic crew from Giffin Interior & Fixture Inc. began building new walls, bringing in custom platforms, and painting the galleries.

P1090130Week 3: We continued to build and paint walls and lay out furniture platforms as the custom-built exhibition casework began to arrive. With the assistance of Bob Tolnai, fabrication technician at NAMA, the casework was placed and the galleries started to look more and more like an exhibition space. Decorative features such as fabric treatments to evoke bunting from the 1851 Crystal Palace, vinyl graphics including one modeled after Siegfried Bing’s Art Nouveau at the 1900 Paris fair, and photo blow-ups of fair displays were installed to provide visitors with context. Our 2-D plan was starting to become reality!

P1090109Weeks 4–6: This is when the real fun began. Truck shipments full of crates containing artwork arrived. Curatorial staff, art handlers, and registrars worked alongside a special team from NAMA (associate registrar Jill Kohler, conservator Joe Rogers, and registrar Janet Hawkins) to unpack and condition report all objects prior to installation, making sure they arrived in the exact same state in which they left Kansas City. Small objects were installed in vitrines while larger artworks were placed on platforms as the exhibition truly started to develop.

P1090139Week 7: The galleries were ready for the finishing touches. Two-dimensional artworks were hung, along with didactic panels. Vinyl quotations were applied to the walls and platform and wall labels were installed. After one last final cleaning of the galleries, the exhibition was ready to open!

I hope you’ve had a chance to visit Inventing the Modern World during its opening week, and if not, we hope to see you in the galleries soon!

 

 

New Hire: David D’Agostino


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What is your official title, and what are some of your general responsibilities? 

My official title is multimedia producer. It is my responsibility to document significant and seemingly insignificant time-based events, people, happenings, etc., that exist inside and outside the Carnegie Museum of Art, by means of digital and analog technology. It is then my job to archive, and edit this documentation into informative and compelling stories. I collaborate closely with my talented supervisor, Jeffrey Inscho, Web & Digital Media Manager, to figure out the best media outlet to present each documented event or story.  Much of the content created will be edited into short form documentaries or “vlogs” to be presented on our newly redesigned website in addition to multimedia gallery interactives. For example, I just produced a focus piece called Pianoforte (below) which takes a closer look at one of the many fascinating objects in the recently opened show, Inventing the Modern World, Decorative Arts in the World’s Fairs 1851–1939. I had the great pleasure to interview and follow the extremely passionate co-curator of the exhibition, Jason T. Busch, who gives us a more in-depth look at the history of the surprising materials that comprise this mostly papier-mâché piano.

In just the past 10 years, digital media has advanced to the point where we can shoot and edit a professional broadcast quality film in a matter of hours. In the past, a five-minute film required at a least a 3-person crew and big lights and a budget out of the reach of most non-profits. Another problem was where to show it. Now, if a visiting artist comes to the museum, I can fit everything into a backpack set-up and interview them in an hour and have it edited and up on our website by lunch time (well, in theory!). What would have been an out-of-house investment is now an efficient in-house department. Of course with this comes my most important responsibility—restraint. All I have to do is step outside my office to find a story. My first day here involved baby tarantulas, free hot dogs, and X-rays of secret paintings. I believe my job is to use new technology, not just for technology’s sake, but as a tool to gently break down the walls created by museums in the first place—to give a voice to the conservators, the custodians, the curators, the directors, and to the culture and people of Pittsburgh.

What were you doing before joining us at CMOA?  

I was producing a feature documentary (still in production) about a man who truly believes it is his divine calling to gather 144,000 chosen homosexuals, specifically “Bears,” to leave this earth on Dec. 21, 2012, to escape Tribulation and ascend to heaven upon the return of a homosexual Jesus Christ. I’ll be taking that day off.

What’s your favorite exhibition that you saw this past year?

I really enjoyed the Paul Thek show here at the museum. Whether or not we “like” an artist, it always gives us a new appreciation to see a retrospective of their work in chronological order. In this case I went backwards… But the show gave me such a clear idea the development of the artist and how he came to arrive at a certain aesthetic. The show gently integrated his personal biography in a way that did not distract from the work but brought me closer to it. The curator did a great job of connecting me to individual pieces by Thek that I would previously have walked right by. Honestly I went into the show wearing my usual cynical coat of arms saying something dismissive like, eh kinda goth, but I left the show feeling naked and inspired. It’s probably one of the best shows I have ever been to and I gained a new favorite artist as a result. Of course there are always some underdog curators out there curating shows of underdog artists. Sometimes those are good.

If you could steal one artwork from our collection, what would it be?

I would Never!… But if I had to…. Probably the Pterodactyl over in Natural History. I’d mount it on the roof of my house in Swissvale as a sort of warning to my neighbors, because my dog is useless as a guard dog.

Describe Pittsburgh in five words or less.

Other city of brotherly love.

Favorite timewasters? 

You said timewasters right?  Here Comes Honey Boo Boo and Gooskie’s of Polish Hill, but never at the same time….

Any personal projects you’d like to share?  

I am happily getting married to Michelle C. Fried in November.