Posts by Jennifer Hickey
MoMA’s Jackson Pollock Conservation Project: Bringing the Project to Conclusion: Restoration of Number 1A, 1948
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.
Throughout the project, we’ve been working closely with curators in MoMA’s Department of Painting and Sculpture, and this exchange of ideas surrounding Pollock has enriched and informed the treatment process. During one such meeting, we took advantage of the opportunity to view One: Number 31,1950 as Pollock saw it during its inception: laid horizontally.
Over the past nine months, Inside/Out readers have been following MoMA’s Jackson Pollock Conservation Project, the study and restoration of three iconic Pollock paintings in the Museum’s collection.
In the May 1951 issue of ARTnews a selection of photographs by Hans Namuth appeared as illustrations for Robert Goodnough’s article, “Pollock Paints a Picture.” The images depict a focused Pollock energetically applying paint to a large canvas spread across his studio floor.
MoMA’s Jackson Pollock Conservation Project: One: Number 31, 1950—Characterizing the Paint Surface Part 2
Empirical examination and scientific analysis are fundamental to conservation research and treatment; conservators frequently collaborate with scientists in order to clarify specific questions: to identify materials, elucidate degradation mechanisms, or test the efficacy of conservation methods.
MoMA’s Jackson Pollock Conservation Project: One: Number 31, 1950—Characterizing the Paint Surface Part 1
In our last post, we took a closer look at the variety of visual effects Pollock was able to achieve with his painting technique. We also observed some passages of paint that don’t appear to fit the typical characteristics of poured house paint. So we set out to investigate this seeming inconsistency.
We covered a lot of territory in our last post, documenting Echo’s condition and treating the discolored canvas. Our efforts have produced satisfying results.
We left off in our last post having explained the research and assessment that precedes any conservation treatment. Using Echo as our object of study, we examined questions that arise after looking closely at a painting. Let’s delve into one such question.
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