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CATEGORY: CONSERVATION

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April 14, 2015  |  Conservation, Media Conservation
MoMA’s Digital Art Vault
MoMA's data center. Photo: Ben Fino-Radin

MoMA’s data center. Photo: Ben Fino-Radin

Recently on Inside/Out, we heard from Assistant Media Conservator Peter Oleksik about MoMA’s efforts to preserve and digitize its collection of analog video art, amassed over the course of four decades. The heroic undertaking of digitizing over 4,000 videotapes was absolutely critical for preservation and access purposes. However, when we digitize analog videotape, we have just begun a new chapter in the artwork’s life Read more

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April 8, 2015  |  Conservation, Media Conservation
Digitizing MoMA’s Video Collection

Three years after the advent of the Portapak (the first portable video recorder), MoMA showed Nam June Paik’s Lindsay Tape (1967) as part of the landmark 1968 exhibition The Machine as Seen at the End of the Mechanical Age, organized by K.G. Pontus Hultén. The piece consisted of two, half-inch reel-to-reel decks that were spaced 10 feet apart, with the tape (Paik’s original!), jerry-rigged together to allow it to loop continuously. After a week on view, the wear on the tape proved too much. It began to break down and was taken off view (and was almost lost to history). Despite this rather daunting introduction to the fragile and fugitive nature of video, the Museum began to formally acquire video works in the late 1970s, Read more

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March 24, 2015  |  Conservation, Media Conservation
What Does a Media Conservator Do?

Media conservation is responsible for the audio, 35mm slide, performance, software, video, and film-based artworks in MoMA’s collection, caring for them in collaboration with colleagues across the Museum’s departments including Audio Visual, Curatorial, Information Technology, and Registrar. The first conservation position at MoMA was created in 1959 for a paintings conservator, and since then the Conservation Department has evolved to include specialists in sculpture, paper, photography, conservation science, and most recently media, in 2007. Read more

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The Conservation of Henri Matisse’s The Swimming Pool

The centerpiece of the exhibition Henri Matisse: The Cut-Outs, Matisse’s remarkable room-size cut-out The Swimming Pool returns to the MoMA galleries for the first time in more than 20 years. In this video, MoMA’s Department of Conservation shares a behind-the-scenes look at the process of conserving this beloved artwork, and in the text below conservator Laura Neufeld provides background on the project. Read more

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Frank Lloyd Wright’s “Living City” Lives On: Conserving the Broadacre City Model

Drawing of Broadacre City by Frank Lloyd Wright. From B. Pfeiffer, Frank Lloyd Wright 1943–1959: The Complete Works [Vol. 3], edited by Peter Gössel, published by Taschen, 2009

Drawing of Broadacre City by Frank Lloyd Wright. From B. Pfeiffer, Frank Lloyd Wright 1943–1959: The Complete Works [Vol. 3], edited by Peter Gössel, published by Taschen, 2009


MoMA and Columbia University’s Avery Library recently made an acquisition sure to excite even the most casual architecture fans: the Frank Lloyd Wright Archive. In addition to many thousands of drawings, photographs, and ephemera, this collection includes over 60 models and building fragments. One of the largest and most expansive models is that of Broadacre City—Frank Lloyd Wright’s utopian reimagining of the city as open space and landscape rather than skyscraper and skyline. Read more

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MoMA’s Jackson Pollock Conservation Project: Bringing the Project to Conclusion: Restoration of Number 1A, 1948

Jackson Pollock. Number 1A, 1948.  1948. Oil and enamel paint on canvas, 68” x 8’8.” On view at MoMA in a recent acquisitions exhibition in 1950

Jackson Pollock. Number 1A, 1948. 1948. Oil and enamel paint on canvas, 68” x 8’8.” On view at MoMA in a recent acquisitions exhibition in 1950


Readers who have been following the blog will recognize a pattern in our approach to conservation treatment of Number 1A, 1948, the final of three Jackson Pollock paintings that have been the focus of our 18-month project. Read more

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Magritte’s The Enchanted Pose, 1927: Palette Unveiled

As indicated in the previous posts in this series, MoMA paintings conservators and conservation scientists have been studying five Magritte paintings for the past two years in preparation for Magritte: The Mystery of the Ordinary, 1926–1938. Read more

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Magritte’s The Menaced Assassin, 1927—Treatment and Research

As indicated in the previous posts in this series, MoMA paintings conservators Cindy Albertson, Anny Aviram, and Michael Duffy have been studying five Magritte paintings for the past two years in preparation for Magritte: The Mystery of the Ordinary, 1926–1938. Read more

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October 31, 2013  |  Collection & Exhibitions, Conservation
The Discovery of Magritte’s The Enchanted Pose

As indicated in the previous post in this series, MoMA paintings conservators Cindy Albertson, Anny Aviram, and Michael Duffy have been studying five Magritte paintings for the past two years in preparation for Magritte: The Mystery of the Ordinary 1926–1938. Read more

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Revealing the Mystery of Magritte’s Materials and Techniques
From left to right: Conservators Michael Duffy, Anny Aviram, and Cindy Albertson, and Curator Anne Umland in MoMA's Paintings Conservation Lab with René Magritte’s The False Mirror, The Palace of Curtains, III, and The Portrait

From left to right: Conservators Michael Duffy, Anny Aviram, and Cindy Albertson, and Curator Anne Umland in MoMA’s paintings conservation lab with René Magritte’s The False Mirror; The Palace of Curtains, III; and The Portrait

In his polemical 1938 speech “La Ligne de vie (Lifeline),” René Magritte spoke of his “objective representation of objects,” claiming that, “In my view, this detached way of representing things is characteristic of a universal style in which the manias and minor preferences of the individual no longer play any part.” Read more