Restoration of Works on Paper

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Three Hundred Drawings Re-Framed

About the Artist

The environmental artist and architect Michael Singer, commissioned Arts Management Services LLC to inspect, restore, and re-frame all of his works on paper – collages, etchings, and prints.

This multi-year project involved nearly three hundred works of art ranging in age from his first pieces from the early 1970’s to his newest work. Some were in poor condition without acid free materials. Some had never been matted or framed before. 

Restoration

Each was carefully taken apart. Frames – iron, steel, and aluminum – were cleaned, reconditioned, lacquer-coated, or replaced. All frames were custom-made. Special aged-iron frames were carefully cleaned of rust spots and coated with two layers of satin-finish lacquer, while preserving their antique iron look. Frame screws were replaced to match the frame color and finish.

All backing that was not acid-free, foam core, or blemish-free was replaced. All mats were carefully inspected and replaced when needed by 8-ply cotton rag archival museum board. This 8-ply mat was hand-cut with no over-cuts at the corners. I used a special bone implement to finish the cut edges as per standard art framing practices.

I used archival acid-free glue with hand-made Japanese rice paper hinges. In addition to hinging at the top as is usual, sometimes the sides were also hinged when the weight of the artwork was an issue. Acid-free paper was folded into triangles and applied to the bottom corners of all artwork to protect it from damage during handling and transport, should it ever come unhinged.

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Some drawings needed to be carefully cleaned of bugs, dust, and mold. The artist was consulted before removing any blemishes to be certain that such marks were not part of the artwork.

Fixative was re-applied to surfaces without disturbing delicate elements such as copper foil, oil stick, chalk, pencil, and charcoal.

Many collage works required hand-made spacers between the mat and the Plexiglas to create space and separation so that the artwork does not touch the Plexiglas surface – a particular issue for this artist whose works often involve layers of paper as much as 5/8″ thick.

Conservation

Some works were large with dimensions as much as 3′ x 8′ and weighing nearly 100 pounds.

All original museum and gallery labels on the back of each piece were carefully removed and re-affixed to the reconditioned works.

Scratched and smudged Plexiglas surfaces were cleaned and repaired or custom cut and replaced.

Finally, all artworks were recorded in detail as part of a larger project to register all of the artist’s lifetime of artwork, installations, exhibitions, and sales including hundreds of drawings and sculpture.

Best Bronze Protection

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‘Whale Dance’ by Jim Sardonis, July 2019, bronze with dark patina, 16’ x 12’, Randolph, VT. Photo by Lelonie Oatway.
‘Whale Dance’ by Jim Sardonis, July 2019, bronze with dark patina, 16’ x 12’, Randolph, VT. Photo by Lelonie Oatway.

Why Coat Bronze

The use of wax to coat bronze sculpture has a long tradition.

Archaeological evidence of the 'hot-wax' technique for creating bronze jewelry dates back as far as the first evidence of bronze itself - around 3500 BC. So I imagine that it wasn't too long before someone noticed how nice a bronze statue or pendant looks when polished with wax, and how it protects against fingerprints and weather.

This is my theory, but regardless of how it started, the use of wax to coat metal sculpture, particularly bronze, started long ago and is still going strong today.

The Trouble With Wax

I've used wax myself on sculptures. But recent research definitively shows that new products are better. After using a particular polymer known as Everbrite, I'm totally convinced that polymers are better in so many ways. I chose Everbrite because it has a track record of over 30 years - the longer something's been used successfully, the more I trust it.

The Advantage of Polymer

First, let's talk about application. Polymers are much easier to apply. Simply paint it on. Anyone can do it. Whereas wax has to be applied hot requiring an experienced conservator. Additionally, before applying wax, the old has to be removed and the surface cleaned. With Everbrite, yes, any wax, grease, and dirt needs to be removed, but if you're re-coating over a polymer, no removal is necessary.

Sure, a polymer coating needs to be cleaned, but that's a much easier process of wiping with water and cloth. Furthermore, when you apply a polymer over a polymer it 'self-anneals', meaning, it bonds to the old coat automatically. Huge plus over wax! By the way, unlike most paints, polymers also 'self-level', meaning that they do not streak when applied at the right temperature.

Now let's look at another benefit of polymer, protection. Only in the last couple of decades have we developed the technology to determine just how ineffective wax is. Research conclusively shows that even the best quality wax doesn't last as long as we thought and polymers last much longer.

How long wax lasts on a sculpture is purely a guess. Some conservators claim up to two years. Others say three months. The truth is, no one really knows. For outdoor sculpture, it all depends on the weather. It's so variable that wax on one side of a sculpture may weather more than the other side. To know just how long wax lasts, you need to test the particular sculpture which is a time-consuming and expensive process. I'm shaking my head, because why even do this when we know that polymer lasts longer, up to ten years!

And it's removable with solvent. Polymer coatings will darken verdigris, and one of my client's did not like this, so I easily removed the polymer coating with xylene.

Everbrite also provides UV and anti-oxidant protection, and does not yellow. Frankly, I think it's simply nonsense to ever use wax again on outdoor sculpture.

Assessing Different Acrylic Polymers

I rely on the US Park Service and the Getty Conservation Institute for the latest research on best products and practices. Unfortunately they have not yet studied any acrylic polymers other than Incralac which they found superior to wax.

Acrylic polymers were first developed in the 60's. Incralac was the first and still widely used today. Improved acrylic coatings followed with Permalac and Everbrite about 30 years ago.

Incralac and Permalac both last outdoors 3-5 years. Incralac is known to peel so it must be removed before re-coating. Everbrite lasts 5-10 years and along with Permalac does not need to be removed to re-coat.

All provide UV protection, self-anneal, and self-level.

Everbrite provides any gradation of satin or matte finish desired at no extra charge. Permalac now comes in a satin finish but no gradations are yet available. Incralac is coated in wax to achieve a satin or matte finish.

Four coats of Permalac are required for outdoor sculpture. Everbrite just 2. So for cost, protection, and ease of application I prefer Everbrite.

The Downside

One criticism of polymer is that it's too shiny or just doesn't produce the same look as wax. This was true for early versions, but not any more. Manufacturers now mix any shade of satin or mat finish desired. In fact, the sculpture presented here is an example of just such a test of many different shades before the artist and I found the perfect match. The Everbrite company mixes any shade requested at no extra charge.

Final Thoughts

One drawback is that any polymer is solvent-based so it's flammable, and can irritate skin, eyes, and lungs. Thus, gloves, respirator, and eye protection must be used. Certain plastic containers and brush bristles will melt on contact with solvents, so I use metal containers and natural-hair brushes, available and inexpensive at any hardware store.

The final comparison is expense. When you think about all the issues mentioned above, polymer is hands-down less expensive than wax.

Bob Hannum and Jim Sardonis
Bob Hannum and Jim Sardonis

Coating 'Whale Dance'

I most enjoy installing and restoring sculpture when I work with the artist.

This job was just that. I met the sculptor Jim Sardonis last year when he asked me to remove graffiti from one of his sculptures. Now he wanted me to clean and coat this wonderful sculpture.

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The first step was a close inspection and estimate of what the job requires. That done, I asked the artist if he had a preferred product for coating his sculpture. This is a touchy question because Jim no longer owns this sculpture. It was purchased for permanent public display. Thus, Jim doesn't really have any say in this, though recent laws give artists some control over their art even after they sell it. Nonetheless, any decent conservator wants to know and respect an artist's wishes when reasonable. And like most sculptors, Jim preferred wax, but after I presented the wax versus polymer issue, Jim decided to try a polymer.

Polymer is particularly protective in the harsh freeze-thaw weather cycles we have here in Vermont and throughout New England. Acid rain, bird droppings, and pine needles add an extra degree of stress on the surface of metal sculpture. Wax lasts only months in these conditions. Polymer last years.

Getting Started

Next we worked on a perfect shade of satin. We painted many small patches right on the sculpture. These could be easily removed later. Everbrite sent us several small test batches. Jim made the final selection. We stayed six feet apart throughout to adhere to our state's Covid-19 precautions. The final selection turned out to be 1/4 of the usual satin chemical mixture. We also tested brush versus wipe. The coating takes only 20 minutes to dry to the touch and 60 minutes between coats. I called Everbrite and they mixed and shipped our custom request within a day.

I cleaned the sculpture surface of all the old wax and accumulated dirt using mild soap and water. For problem areas such as a few spots of mild corrosion, I used a solvent which does not harm the patina.

I applied two coats of the custom-mixed Everbrite satin that Jim chose. The first coat sealed small cracks and pits.

Final Results

More and more conservators now use polymer coatings. This is the best recommendation of all since the conservation industry is quite careful. Conservators are not known for using products such as polymers that are 'only' 30 years in use!

This particular coating restored a new look identical to the original dark brown bronze patina.

No maintenance is required other than wiping with a cotton cloth and tap water. When the coating fades, just reapply a new one without removing the old. Anyone with painting experience can do it.

Two coats will last up to ten years depending on weather conditions. Polymers are so durable that I offer a five-year warranty to all my clients.

References

1. Latest European study on wax, 2002, https://www.researchgate.net/publication/303158807_Protect_our_European_outdoor_bronze_monuments_Good_Practice_Guide_Culture_2000

2. Assessing the Protective Quality of Wax Coatings on Bronze Sculptures Using Hydrogel Patches in Impedance Measurements, 2016, Downloadable PDF at www.mdpi.com P. 10 - polymers are more protective than all waxes tested.

3. Latest research abstracts on polymer coatings for bronze, 2020 https://www.researchgate.net/publication/222801665_Developing_and_testing_a_new_generation_of_protective_coatings_for_outdoor_bronze_sculpture

4. More research, 2019, https://www.sciencedirect.com/science/article/pii/S0300944018309743

5. Latest GCI Research: https://www.getty.edu/conservation/

6. Anecdotal comparison of Everbrite and Incralac: https://www.everbritecoatings.com/public-art

7. Latest CGI bronze restoration: http://blogs.getty.edu/iris/revitalizing-barbara-hepworths-figure-for-landscape/

8. Latest National Park Service research: https://ncptt.nps.gov/blog/ndsu-outdoor-bronze/

9. Latest Getty Research: Incralac vs Permalac: chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/viewer.html?pdfurl=https%3A%2F%2Fwww.getty.edu%2Fmuseum%2Fconservation%2Fdecorativearts_and_sculpture%2Fimages%2Fdasc_featuredproject_sculpture.pdf&clen=596502

Sculpture Restoration at Becton, Dickinson and Company

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Thirty-Year-Old Sculpture

From March 1 thru 11, 2019, my son William and I restored a 30-year-old in-ground sculpture entitled "Atrium Garden" by Michael Singer. It took us 11 long days. Now It's good for another 30 years!

I was also part of the team that originally installed it in the world headquarters of Becton, Dickinson and Company. After 30 years this sculpture of pine and stone needed serious TLC. The original construction was comprised of wood units made of 2x4's enclosed with ½'' plywood.

Why PT Was Not Originally Used

Pressure treated wood (PT) products first became popular in the 70's, but by the mid-80's when we constructed this sculpture, research indicated that the chemicals used were too toxic for indoor use. It wasn't until the 90's that safer chemicals were used in the production of PT products. Thus, we did not use PT. Instead, we coated the outside plywood with tar and plastic as a safe and effective alternative for protecting the wood from contact with plant irrigation and moist soil.

It held up well, but after 30 years the plastic eroded and the ply rotted. The rot was so extensive that in many places only a sheet of tar remained. The plywood on the visible side of the sculpture was coated with glue and dirt to give the impression of dirt walls as in an excavation. These were in good shape except for the bottom 2" or so where moist dirt created rot. Most of the supporting 2x4's were also pock-marked with rot.

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Each hole is about five and a half feet deep with a concrete floor that we covered with dirt to look like an excavation. Under the plants are about a foot of gravel and topsoil. Filling the remaining space between the floor and the soil were layers of thick 4" rigid foam.

Interestingly, we expected to find small lizards and spiders which we spotted at times during the yearly maintenance visits throughout the past years. We encountered none.

A Dirty Job

The contents of each hole were removed - wood structures and large stones. A manual crane was used to remove the stones which were too heavy to lift by hand. Each structure was rebuilt with pressure-treated plywood. Outdoor-grade latex paint and 35-year latex caulk were applied to the seams and bare wood to match the color of the surrounding dirt. Outdoor-grade decking screws were used at all times.

Then each 'dirt wall' made of plywood and 2x4's was removed and rebuilt. Old ply and 2x4's were replaced with PT. Sheets of thick plastic were placed as an extra protective barrier between the dirt and plants and the new structures. Finally, the wood and stone elements were placed back into their holes.

Challenges

The long days were due to the challenges presented by our location. We stayed at a comfortable hotel only 10 minutes away from the BD campus. We started each day leisurely with a nice hot breakfast and drive over to BD in William's truck by 10am each morning. We estimated 16 days for this project if we worked straight thru with no days off. We couldn't make loud noise from hammers, saws, or vacuums during business hours. So, we used this time to purchase supplies and prepare everything we needed so that once 6pm arrived we were ready for a loud and intense 3 or 4 more hours of work.

Keeping It Safe

Employees were working and walking near us throughout each day. As a result, we were very careful to keep our worksite clean, organized, and safe. We placed safety cones and air filters all around the worksite. The polished granite and marble floors surrounding the sculpture were protected at all times with moving blankets and thick plastic sheet. And of course, we had to watch our language when faced with the occasional frustrating moment!

About BD

BD is the world's largest producer of medical supplies. Their many inventions include the syringe, thermometer, ace bandage, and the black leather doctor's bag, to name just a few. Founded in 1897 and headquartered in Franklin Lakes, New Jersey, BD employs nearly 50,000 people in more than 50 countries throughout the world. The founders, Maxwell Becton and Fairleigh Dickinson were also collectors of art. In 1986 work began to create a new campus in Franklin Lakes, NJ. New buildings feature large work spaces with natural light and beautiful art.

Award-Winning Architecture

The architects Kallmann, McKinnell & Wood envisioned a Tuscan villa-style design. The campus is stately buildings set among rolling hills made of mahogany, polished stone, and copper. Their design achieved every major architectural award. The chief architect, Michael McKinnell, placed large atriums within each building and commissioned the sculptor Michael Singer to create two large indoor sculptures and another large outdoor one. Singer and McKinnell became friends and collaborated on subsequent artworks and architectural designs.

Lost Energy

After about the sixth long and hard day, and only half done, we'd had it! My son William and I were feeling a bit down and out with no end in sight. So, we called in our friend Al Chapman to lift our spirits and lighten our load. He works with us on many large projects, and he was just what we needed! His skill, energy, and good humor got us back on track with renewed enthusiasm. Suddenly, the project was almost finished and we were ecstatic!

Marble Restoration in Japan

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Broken Marble Fingers

The Sculpture

Two fingers on a delicate marble sculpture by an unknown French artist, a nearly life-sized nude, were broken in the past and then glued back using a substance that darkened over time.

My job was to restore the fingers to their original look.

The Restoration

The process involved carefully removing just enough of the old glue so as to fill it with new white epoxy, but not so much that the fingers break again, and without touching any part of the original stone.

Using a professional-grade Dremel, and a variety of accessories, I removed a thin layer of the old epoxy without touching any of the original marble surrounding the old repair. Once this was done I applied a 2-part non-glossy white epoxy, filling the cracks so that it looked like the original stone. Finally, and quickly before the epoxy set, I applied white marble dust to match the texture of the stone.

Once dry I did a few minor passes with the Dremel for finishing touches.

Before

 

After

 

Before

 

After

I was happy with the result.

Sculpture Restoration for Williams College

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What Began as an Installation Became a Restoration

Uh Oh, Something's Missing!

Arts Management Services LLC (AMS) installed a sculpture from the collection of the Williams College Museum of Art.

1 week installation in 1.5 minutes!

It's a sculpture by the environmental artist and architect Michael Singer entitled Ritual Series 1990 now on exhibit through February 19, 2017.

It's the centerpiece of a group exhibition titled 'Shaping Space,' which also includes works by Richard Serra, Mel Edwards, and Louise Nevelson. To learn more about this exhibition, visit the Williams College Museum of Art (WCMA).

During the installation I discovered that a few pieces were missing much to the chagrin of the artist and museum staff. After an extensive search the pieces were not found. Michael Singer determined that the sculpture looked fine to exhibit, but that the missing pieces should be restored.

So WCMA commissioned AMS to restore the missing pieces. My son William joined me and we completed the project and replaced the missing pieces on February 7.

Acquisition

Arts Management Services assisted in the original fabrication of this sculpture in the early '90's.

Williams College in Williamstown, Massachusetts added this sculpture to their permanent collection as a gift from an alumnus and closest friend of the artist, Dr. William Fishkind.

About the Sculpture

Art Installation by Arts Management Services

Ritual Series, 1990 consists of wood, granite, field stone, copper and bronze measuring 230″ x 230″ x 75″ tall.

The wood has a gorgeous texture created by sand-blasting 2″ thick rough-cut pine, harvested from the woods nearby Michael's Vermont studio by a local mill. After sand-blasting, the large and heavy planks were carefully singed to create an ancient look. The wood is not coated and easily bruised so handling is careful with gloves at all times. Likewise packing and storage is done with special care to avoid bruising or scratching the soft wood.

Field stone was collected from around the artists 100-acre property in the mountains of southern Vermont. Mr. Singer would assemble a group of us from his studio and line us up behind him in a single row. We would then follow him all over his fields like ducklings. He would point to a rock and one of us would pick it up and carry it. Most were too heavy to carry more than one. When we all had one we would load them on his pickup truck and transport them to be cut flat on one end.

Holes were drilled into the planks. These holes refer to the aboriginal maritime culture of the Chumash who lived along the coast of what is now California. They created their canoes by lashing planks together which they referred to as Tomol, which was the original name of this artwork when first exhibited outdoors in a dry riverbed of the Santa Barbara Botanical Gardens.

Another interesting feature is the 'barrewood' and the barrewood patterns reflected in some of the bronze elements. Barrewood is a term used by the artist because these distinct patterns are created by huge saw blades that cut thru granite and slightly into 2 x 4 planks that line and protect the floor. Michael's stone cutters are located in Barre, Vermont.

The Installation

Williams College art installation

One of the secrets of this artist's work is the precise degree of vertical plumb and horizontal level. Most good carpenters notice when something is off-level by anywhere from an 1/8″ to 1/4." Incredibly, Mr. Singer notices pieces that are off-level by only 1/32″! This precision creates a subliminal effect of calm and quiet, making the heaviness of stone, metal and thick wood seem light, floating, contemplative, even otherworldly. This stunning effect can be felt in this and many of his other sculptures.

Many of the granite and bronze pieces are heavy and the long and thick pine planks bulky, needing 2 to handle and place precisely according to the instructions.

Our team devised an instructional system with carefully marked photographs whereby intricate sculpture such as this can be assembled and disassembled by museum and gallery preparators.

This art installation required two people five days to install.

This is only the second showing of this sculpture at Williams since it's purchase and exhibition in 1990. The current exhibition notes this about the artist and this work:

In 1971, Michael Singer fled New York City and settled in rural Vermont, where he found solace and renewed inspiration in nature. Comprised of sculptures and landwork, much of Singer's body of work exists outside of traditional art spaces. In his architectural designs, gardens indoor and outdoor artworks, and infrastructure projects, he consistently endeavors to produce ecologically sustainable objects and spaces that draw inspiration from their particular environment. This sculpture is part of Singer's ongoing Ritual Series, a collection of indoor installations crafted using an array of natural materials. Curved wooden beams enclose a labyrinthine interior of stone, metal, and wooden forms. For Singer, this central sanctum is akin to an inner realm - a sacred space from which to contemplate one's place in the natural world.

Framed Art Restoration

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Three Framed Art Works

Beautiful Delray Beach

Just returned from a week in sunny Delray Beach, Florida, restoring three framed art works for two private collectors.

These works are important pieces by Michael Singer. They are among his earliest works-on-paper from the 1970's. At that time, in his 20's, he was not always concerned with paper quality or the importance of acid-free materials for long-term preservation. Both collectors, aware of the need for these works to be better preserved, asked me to provide the restoration services.

Meanwhile, my wife relaxed on the gorgeous beaches, and we were graciously hosted by the artist who is also an amazing chef!

The Project

Over four days, each artwork was carefully inspected and disassembled. Old foam core and cardboard that was not acid-free and a plywood backing were replaced with new museum-quality materials. Wooden backings were re-glued at all of their joints. Then the artwork was closely inspected to remove any dust or other extraneous material that found their way between the artwork and its protective glass over the many years that these works have been on display in the homes of their owners. How dust and microscopic-sized bugs get into framed art is a mystery to me.

Then I attached the artwork to new foam core backing with special Japanese rice paper hinges and extra custom-made holders that further secure these unusually heavy collages without being seen.

Custom-made iron frames, beautifully aged and even slightly rusted in spots, were cleaned and lacquered. The rust was not removed as the artist likes the look. Special spacers were placed between the Plexiglas and the artwork, underneath the border of the frame and out of sight of the viewer, in order that the art no longer touches the Plexiglas. This further preserves the art.

Two of these works are in fine condition. One caused me a brief moment of art conservation horror! Instead of non-acid-free foam core or cardboard which is concerning enough, this piece was backed by a thin sheet of plywood. The resins from the wood and the glue used to laminate plywood can damage paper worse than just about anything else! Consequently, over time the outer edges of the artwork have yellowed but not too badly. Replacing this ply with acid-free foam core will delay any further yellowing.

All the work involved in this restoration process was formally documented and sent to the collectors for insurance and appraisal purposes.

The Angel

These non-matted works did not, at first glance, need any replacement Plexiglas, but upon removal clearly did. This little extra detail became a big factor as I searched the local and surrounding glass and framing businesses for replacement Plexiglas of the large and thin dimensions that I needed.

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Not easily found! And I had a plane to catch in two days for my next project! After over a dozen calls and even a visit to a business that had just gone out-of-business, I found just what I wanted thanks to Melissa at Delray Art & Framing Center. She went the extra mile to be sure I received exactly what I wanted and sooner than I expected. Once in a while along my travels I meet special people that I'll never forget. She's one of them!

At the end of it all I cleaned the glass of any fingerprints I may have left plus fine lint and dust that accumulates even in the minutes between removing the protective film and placing it over the artwork. I use a special solution that does not damage the Plexiglas while removing dust, dirt, and static electricity. Plus the screws that hold the frame together were replaced with black-headed ones that match the frame.

Finally I inspected the equipment used to display the art on the walls - hangers and lights - applying minor adjustments.

One of my clients, Louise and Herbert, knowing I was versed in the repair of art pools asked me to check their newly repaired outdoor hot tub. Despite my busy schedule I managed to squeeze in a couple minutes at no extra charge.

By the way, Herb and Louise, whose last names I will not mention in respect of their privacy, were the most enjoyable clients I have ever worked for. Herb's stories are absolutely priceless!

The Surprise

When I returned to my office I checked to be sure these framed art works are included in Mr. Singers registry, a project he commissioned me to assemble and keep updated. This is an ongoing project begun five years ago and including archival descriptions of all of his works of art - sculpture as well as drawings.

One surprise was discovering that the artist had lightly painted a very thin coat of grey over the surface of one frame. This is not something I observed in any other of his framed art. When I asked Michael about it he replied, "I have no idea why that frame is painted!"

Sculpture Restoration at Wellesley College

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‘Woodland Garden’ by Michael Singer

Art restoration by Arts Management Services LLCThe Artist

Michael Singer is an environmental artist and architect with studios in Vermont and Florida. His sculpture and drawings are part of the permanent collections of many of the world’s major contemporary museums such as the Guggenheim, the Walker Art Center, the Hirschorn Museum, and the Louisiana Museum in Denmark to name a few.

The Sculpture

Wellesley College commissioned Singer to create this site specific sculpture, Woodland Garden, on it grounds. Mr. Singer’s describes this work of art on his website as follows:

The two acre site on the extensive, beautifully landscaped Wellesley College campus is located along a pathway that winds through a wooded area on one side of Lake Waban. The journey through the landscape is part of the experience of this permanently-sited work, offering an alternative approach to traditional notions of public art which is usually placed in an urban context.

Woodland Garden is meant to be discovered, stumbled upon, as one travels along the forest trail. The site is defined with low stone walls that serve as both threshold and boundary, referring to the abandoned stone walls and foundations found throughout New England’s reforested landscapes. The sculptural element is sited in a hollow between two small hills in the landscape. Low split-stone slabs and a cut capstone rise two feet above the ground plane and define the upper edge of a chamber that extends four feet below the ground. The sunken chamber contains sculptural layers of cut granite and cast bronze. Over one hundred planted indigenous silver beech and red maple trees, along with wild blueberry and ferns, were planted as a part of the project to blend into the existing woodland flora.

The project was sponsored by the National Endowment for the Arts, LEF Foundation, Davis Museum and Cultural Center, and the Massachusetts Council on the Arts.

Woodland Garden Sculpture by Michael SingerThe Restoration

Wellesley College’s Davis Museum commissioned Arts Management Services LLC on several occasions to remove graffiti and repair other damage. The remote location of the sculpture lends itself to being abused by students – both college and high school – as a favorite hangout and party area. Damage often resulted especially when the parties included drinking and a camp fire.

After what looked like regular annual repair bills, I suggested signage and a program that encouraged students to learn about the sculpture and respect it. This has resulted in excellent results with no damage since.

The restoration work involved removing burnt remains of campfires, graffiti on the walls, replacing moss, straightening bronze elements, cleaning and re-pinning rocks, repairing a cracked slab of schist, and replacing a bronze element that had been removed and lost, presumably as a souvenir. I also taught students to carry out annual maintenance on this outdoor sculpture garden.

Restoration of Works on Paper

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300 Drawings Restored and Re-Framed

About the Artist

framing - AMS

The environmental artist and architect Michael Singer, commissioned Arts Management Services LLC to inspect and restore all of his works on paper – collages, etchings, and prints.

This multi-year project involved nearly 300 works of art ranging in age from his first pieces of the early ’70’s to his newest work. Some were in poor condition without acid free materials. Some had never been matted or framed before.

The Restoration

Each was carefully taken apart. Frames – iron, steel, and aluminum – were cleaned, reconditioned, lacquer-coated, or replaced. All frames were custom-made. Special aged-iron frames were carefully cleaned of rust spots and coated with two layers of satin-finish lacquer. Frame screws were replaced to match the frame color and finish.

All backing that was not acid-free, foam core, or blemish-free was replaced. All mats were carefully inspected and replaced when needed by 8-ply cotton rag archival museum board. This 8-ply mat was hand-cut with no over-cuts at the corners. I used a special bone implement to finish the cut edges as per standard art framing practices. All hinges were replaced.

Michael_Singer_Select_Drawings_thumb2

I used archival acid-free glue with hand-made Japanese rice paper hinges. In addition to hinging at the top as is usual, sometimes the sides were also hinged when the weight of the artwork was an issue. Acid-free paper was folded into triangles and applied to the bottom corners of all artwork to protect it from damage during handling and transport, should it ever come unhinged.

Some drawings needed to be carefully cleaned of bugs, dust, and mold. The artist was consulted before the removal of any blemishes to be certain that such marks were not part of the artwork.

Fixative was re-applied to surfaces without disturbing delicate elements such as copper foil, oil stick, chalk, pencil, and charcoal.

Many collage works required hand-made spacers between the mat and the Plexiglas to create space and separation so that the artwork does not touch the Plexiglas surface – a particular issue for this artist whose works often involve layers of paper as much as 5/8″ thick.

Art conservation - Arts Management Services

Some works were large with dimensions as much as 3′ x 8′ and weighing nearly 100 pounds.

All original museum and gallery labels on the back of each piece were carefully removed and re-affixed to the reconditioned works.

Scratched and smudged Plexiglas surfaces were cleaned and repaired or custom cut and replaced.

Finally, all artworks were recorded in detail as part of a larger project to register all of the artist’s lifetime of artwork, installations, exhibitions, and sales including hundreds of drawings and sculpture.

Sculpture Restoration at Middlebury College

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Site-Specific Sculpture ‘Garden of the Seasons’

sculpture repair by Arts Management ServicesThe Artwork

Garden of the Seasons is located on a main pathway of the Middlebury College campus. A granite bench sits in front of an aluminum structure with water trickling over it. This transforms into an ice sculpture in the winter months. Behind this structure is a garden and stream also designed by the artist.

The site-specific environmental sculpture engages visitors with sound, light, color, texture, and fragrance. The artist’s website further describes it as follows:

The garden is a semi-sheltered contemplative place to enjoy the air and light of Vermont, socialize, meet a friend, read and view the landscape and the quad in all seasons.

At the threshold of the garden a warm season Water Wall transforms to a winter Ice Wall. Depending on the temperature. The surface of the Ice Wall slowly grows vertical ice sheets or the ice melts away revealing a pattern of steel and aluminum lattice. In the spring and summer the water wall has the ambient sound of slowly flowing water punctuated by the sound of insects and birds within the garden.

The garden opens to a small semi-circular plaza of sculpted concrete pavers and a curving granite bench with views to distant mountains. A sunken garden chamber set at different elevations functions as a gravitational stormwater runoff treatment system under the plantings. A long naturalized bioswale enfolds the garden with wildflowers and grasses. All the plantings of the garden are indigenous ground covers, wildflowers, shrubs, and vines. Many of the plants have winter berries and summer blooms that provide habitat for birds and butterflies.

sculpture by Michael SingerThe Restoration

The original grey paint which coated the aluminum structure failed and was peeling.

My work involved removing the peeled paint and applying a two-part epoxy paint matching the original color.

I researched paint used on metal exposed to water. These two-part epoxy paints have been used successfully on bridges for many decades.

I cleaned the stone, removed old paint, and applied the epoxy. The project took me one day without assistance.

Read more about the artwork here.

Sculpture Restoration in Maryland

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FDA ‘Healing Garden’

Sculpture Repair by Arts Management ServicesSite-Specific Environmental Art

Michael Singer commissioned me to restore his sculpture, Healing Garden outside the Food and Drug Administration’s Wiley Building in College Park, Maryland.

Healing Garden was commissioned by the General Services Administration (GSA) of the US Federal Government. Their FDA building is over 400,000 square feet and includes dozens of laboratories for food safety and nutrition research.

Michael designed a site-specific sculpture and landscape within a three-acre area south of the building. The design  engaged an existing stream, established a new wetland and pond habitat, and activated the building’s courtyard green.

Healing garden by Michael SingerHis website states:

The Healing Garden was created as a place where workers can seek respite within a quiet contemplative garden. While envisioned as a refuge the overall concept also attempts to restore and heal a part of the land that was heavily impacted by the building’s construction.

The garden consists of a series of low granite walls, benches, and water elements set within the landscape of the building’s courtyard. The piece is framed by two water elements; the one to the southwest integrates a series of textured granite and bronze runnels that vary the sound of the flowing water. The other water element to the northeast has a hidden water source that pours into a spiral water well set into the earth. The two water elements, low granite walls and benches, planted gabions, and terraces of sculpted pavers define the garden spaces that are overlaid with curving swathes of native and low water shrubs, grasses, wildflowers, and succulents.

Across the stream from the courtyard, the landscape was naturalized with dense vegetation and wetland and embankment plantings along a retention pond. Plants had to be carefully selected to handle the heavily compacted clay soils and minimal maintenance or irrigation. Trails of permeable stone fines connect the parking lots to the building and run along the stream connecting the adjacent metro station to other nearby properties.

The Restoration

My work included inspecting and repairing all aspects of the sculpture including cleaning the pump and stone, re-aligning the stone elements, and restoring the water flow and planted areas. The project took me one day without assistance.