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Our paper conservation team set up a screen-printing station to investigate prints Ed Ruscha made with foods, including Heinz Baked Beans and caviar.
When Alan Sonfist’s work came to the Paintings Conservation department for treatment, my first thought was: This graphite drawing on canvas is more a drawing on a textile than it is a painting.
By José Luis Lazarte
It’s not just a simple knit 1, purl 2 project. Instead, it should carry the warning, “Requires Expert Supervision.”
By Sarah Gates
It had been sitting in the dark for years, unremarked upon. Its swirl of freshwater pearls, the imperial double eagle on the front, the decoration of thick gold braid on red velvet; none of it was included in the simple description — “Woman’s F
Here is a behind-the-scenes look at the painting’s whereabouts over the past year.
By Elise Effman
The Objects Conservation Department worked with outdoor sculpture contractors to conserve the Louise Nevelson sculpture Ocean Gate in 2011.
When conservators design a treatment for a corroded sculpture, they often have to grapple with the issue of the artist’s intent.