Art Installation at Becton, Dickinson and Company

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Award-Winning Art Installation

In 1986, Arts Management Services LLC was part of the team commissioned to install two large sculptures. The piece shown above is titled Atrium Garden by Michael Singer and is located in the world headquarters of Becton, Dickinson and Company (BD) in Franklin Lakes, NJ.

Singer was commissioned to create works of art for two interior atrium spaces in the executive building of BD’s vast corporate campus.

“Both atria were planned by the architect to be central light wells for the building, providing natural lighting for the core circulation space as well as the adjacent offices and gathering spaces. Upon entering the building there is a view of the central Atrium Garden and its linear water element which carries one’s view deeper into the space.

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Low dense ground cover blankets much of the sculpted ground plane, with several excavated shapes below the surface and around the fountain and water channel. These excavated areas contain different configurations of stone and wood forms.

The garden may be viewed from the adjacent offices and walkways on the upper levels. The many viewpoints reveal different forms within the underground chambers. In the second atrium, which faces an outdoor courtyard, there is a wood and stone sculpture Cloud Hands Ritual Series 1986, an etched copper tablet and an old quarry cart. The elements of the sculpture and etched copper plate reflect the larger forms seen in the sculptural garden atrium.

This project won an American Institute of Architects Gold Award.”

Made of granite, pine, and field stone, I return for yearly maintenance to clean both pieces and apply repairs as needed which is infrequent.

Restoration has involved replacing rotted infrastructure elements supporting the granite. Other than these minimal repairs the piece is remarkably durable. An electrical leak in the ceiling above the Cloud Hands sculpture caused staining on several wood surfaces. The owners have chosen not to repair it due to the fact that the stains look just like knots in the pine surface.

Update 

In 2019 Arts Management Services LLC restored both sculptures. The entire below-ground infrastructure was replaced and the electrical stain damage was restored. See this article for further details.

Installation of a Major Exhibition in Denmark

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We installed four sculptures, five framed artworks, and numerous story board photos of architecture and infrastructure projects. Sculptures included Ritual Series Retellings 1999-2010 made of pine, cast concrete, bronze, copper, and stone.  158″ wide x 209″ long x 65” tall.

We also installed Ritual Series Map of Memory 2001-2010. This is made of pine, cast concrete, bronze, copper, aluminum, marble, lead, and field stone. It measures 140″ wide x 180″ long x 56” tall.

Both exhibits were well received and included symposia on the role of art in saving the environment, saving the world!

custom made museum display pedestals

As part of the exhibition, a major book on the work of Michael singer was published, The Re-Enchantment of Nature and Urban Space: Michael Singer, Projects In Art, Design, and Environmental Regeneration. It is available in hardcover on Amazon.

Book by Michael Singer

Sculpture Installation at the US Embassy in Athens

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Six-Week Sculpture Installation

A Major Overseas Project

Michael Singer Sculpture at US Embassy in Athens Greece

In 2007 Arts Management Services LLC (AMS) was hired to manage a major and challenging sculpture installation.

For this six-week project I assembled a ten-person team (five from the US and five from Greece) to install "Garden Sculpture" by the artist Michael Singer at the US Embassy in Athens, Greece.

The project was completed on-time, within budget, and without injuries.

What Is FAPE?

The project was commissioned by The Foundation for Art and Preservation in Embassies (FAPE). This is a non-profit organization dedicated to placing American art in U.S. embassies around the world. For over 30 years, FAPE has contributed to the U.S. Department of State’s mission of cultural diplomacy by partnering with American artists. These artists are specially chosen for artworks that encourage cross-cultural understanding.

FAPE asked Michael Singer to design a sculpture to be placed outside a new building constructed on the embassy grounds. This building was design by Kalman, McKinnell and Wood Architects. Michael McKinnell and Michael Singer have a long history of collaboration which first began with their award-winning Becton, Dickinson and Company project. This new building and outdoor sculpture are adjacent to the existing embassy that was designed by the renown modern architect Walter Gropius.

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The sculpture can be viewed from several angles: from inside the new building, from its terrace, from the grounds, and from an entry bridge.

About the Sculpture

Michael Singer Sculpture in Athens Greece

It is 70' long and made of marble, concrete, aluminum, and inlaid tile. Its 49 tons were fabricated at Michael's studio in southern Vermont. Then it was packed and shipped. I tracked the ship on my computer as it crossed the ocean. At one point I watched the dots on my computer screen representing the container ship, sharply divert from its course to avoid a storm.

No pieces broke in transit though several replacement pieces were included just in case. These extra pieces were used to increase the concrete walkway surrounding the piece. Notice in the photos the white concrete squares embedded in the ground surrounding the sculpture.

Challenges

Dozens of custom-made wood crates arrived in a single shipping container. They arrived ahead of schedule at the port in Piraeus, not far from Athens. Good thing we shipped early since the container remained in the port for two weeks until a strike by dock workers ended.

Challenges were common in this project. Months before on my first trip to Athens to make arrangements for the installation, a rocket-propelled grenade struck the front of the embassy! I arrived just a day after this occurred. The rocket missed the American Seal it was aimed at and blasting into the ambassador's private bathroom. No one was injured. The incident occurred early in the morning when no one was in the embassy. I was told that this is typical Greek protest, violent but not meant to injure anyone. The incident underscored the unique challenges we often face in overseas art installation.

Once the container arrived at the embassy, its contents were lifted by crane over the embassy wall and placed around the foundation.

The installation took six weeks including a week to correct errors in the concrete foundation.

What the Artist Says

The artist describes the sculpture in this way:

"...a platform-like structure emerging from below grade at one end and rising three feet from the ground level at the other end. The solid forms of the piece combine to reference a whole, as if the piece were a foundation for something once present. The piece has been said to have archaeological references, an uncovering of something lost and mysterious."

 

Michael Singer discusses the design and fabrication of 'Garden Sculpture.'

Water runs from the high end of the sculpture down over a narrow concrete corridor. Then it spills out onto a wide textured cast aluminum spillway. Finally, the running water falls into a deep, below-ground cistern.

Flowering indigenous succulents were planted throughout the sculpture. They now drape over edges and blend in beautifully with surrounding olive trees and lavender hedges.

Detail of Singer Sculpture in Athens Greece

Marble slabs provide seating for visitors and employees. It is a place of quiet except for the sound of birds and flowing water.

Success

Special thanks goes to Alan Chapman. He's the best builder and troubleshooter on the planet, and he's my number one choice when I need additional help. His unique meld of artist and carpenter make for marvelous solutions. Plus, he made us all laugh when it counted most. And brought us together when things got tense. The success of this project is dedicated to him.

Another special thanks goes to our translator, Fred Naff. He is an ex-pat and local architect who was so much more than a translator. With wonderful calm, intelligence, and humor, he guided us safely through many pitfalls, and was just a heck of a lot of fun to be around! The project could not have succeeded without him.

Update: January, 2018

This large compound of the US Embassy in Athens is expanding again! The new building designed by Kalman, McKinnell and Wood Architects only 10 years ago is now being totally gutted, renovated, and added onto. Michael Singer's sculpture is now covered to protect it during the three-year construction project. All the plants and dirt were removed and the water shut off. When the project is completed, AMS will return to completely restore this sculpture.

Update: June, 2023

Well, 3 years became 5 with delays due to Covid. Plans are afoot for me to return later this year to finally restore this marvelous sculpture.

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.

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!

Installation at the American Academy of Arts and Letters

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Exhibition

My son William and I installed a new sculpture by Michael Singer entitled Ritual Series 2018 at the American Academy of Arts and Letters in New York City for their 2019 Invitational Exhibition.

This annual one-month event features contemporary artists from around the United States. This year's exhibit - March 7 to April 7, 2019 - featured 35 artists. Following the exhibit, nine received top awards. Award winners continued to exhibit for two more months and add one or two more artworks. This is considered the most prestigious award for visual art in the United States.

Installation

This sculpture by Mr. Singer is made of granite, copper foiled pine wood, cast aluminum, field stone, dirt-coated plywood, and copper leaf.

A major aspect of all his sculpture is level horizontals and plumb verticals. The effect is a sense of calm and for me personally (and also from the comments of others) a sense that the entire piece is weightless, floating, and even otherworldly. Thus, great care is taken to place each and every piece precisely.

The gallery space is located at the Academy's Manhattan headquarters. It is the most beautiful exhibition space I have ever seen with antique tile floor and a ceiling made entirely of a glass skylight!

The installation took us 3 days.

Awards

I'm pleased and honored to report that Michael was one of the top award recipients. His work of over 50 years - sculpture, drawings, architecture, and environmental design - so deserves it. See his wonderful artwork here. And for more details of the award click here.

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American Academy of Arts and Letters

The American Academy of Arts and Letters was founded in 1898 as an honor society of the country's leading architects, artists, composers, and writers. Charter members include William Merritt Chase, Kenyon Cox, Daniel Chester French, Childe Hassam, Henry James, Theodore Roosevelt, Elihu Vedder, and Woodrow Wilson. The Academy's 250 members are elected for life and pay no dues.

In addition to electing new members as vacancies occur, the Academy seeks to foster and sustain an interest in literature, music, and the fine arts by administering over 70 awards and prizes, exhibiting art and manuscripts, funding performances of new musical works, and purchasing artwork for donation to museums across the country.

Below are more works by Mr. Singer:

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.

Sculpture Installation for Michael Singer

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New Project for the Environmental Artist Michael Singer

The Met!

Sculpture Installation for Michael Singer

'First Gate Ritual Series 1985', ash, cut granite, and field stone.

My team and I, joined by our newest member, my son William, just embarked on a challenging project.

Michael Singer commissioned my company Arts Management Services LLC to remove several of his sculptures that are currently installed in his private gallery, and replace them with new ones. This is in preparation for a special visit next month by representatives of the Metropolitan Museum of Art who are visiting his studio to possibly include his work in an upcoming exhibition of western and middle eastern art. They may also purchase something.

Installations Begin

The work began at the end of April, 2016 and lasted several weeks.

The first sculpture pictured above, First Gate Ritual Series 1985, is over a hundred pieces and many are very easy to break. Adding to the challenge, every time the next piece is placed, the ash pieces bend under the additional weight, causing the entire piece to change, meaning that everything previously placed needs to be adjusted again. And essential to every Singer sculpture is that horizontal and vertical pieces are level and plumb.

First Sculpture Complete

After a couple weeks my son and I have it all up. We let it 'settle' for a few days so that whatever bending the ash will do under the weight of it all, takes it's course so that we can finish leveling it. Once done the entire work feel like it's floating!  We're just happy it all hasn't fallen down!

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Sculpture Number Two

Now we're on to the next sculpture, Ritual Series Retellings 1999-2010, made of pine, cast concrete, bronze, copper, and stone. It measures 158' x 209' x 65”. Lots of heavy and fragile thick pine as you can see in the picture below. The grey walls are stunningly beautiful, sand basted, then painted white, and finally dirt is rubbed into the nearly dried paint. The effect is a textured antique-looking surface with white and patinaed copper leaf sparkling thru.

Here is a fascinating video of Michael and his assistant Paul creating the patterns in the concrete.

This is a very different sculpture - no settling here. But as with the previous sculpture, horizontal levels and vertical plumbs are critical to the overall effect of quiet and other-worldliness which this work of art evokes.

Success

Michael Singer Sculpture

'Ritual Series Retellings 1999-2010', pine, cast concrete, bronze, copper, and stone.

The final days of the project are spent carefully inspecting both pieces and the entire gallery with last minute details such as light sanding of the marble surface to clean it of all dirt and finger prints, repairing wood surfaces that are slightly damaged in storage, and cleaning the gallery space.

The project was completed on time with a few days to spare. We always put a lot of long days in at the beginning in case of emergencies. When projects like this are completed without any surprises, it's so enjoyable.

Here is a time lapse video of the installation of another Michael Singer sculpture, First Gate Ritual Series 10/78, by the staff of the Modern Art Museum of Fort Worth in 1978. This gives you an idea of the effort involved.

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!"

Art Restoration at the Denver International Airport

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Back Again!

One of Several Visits

Singer Sculpture at Denver International Airport

This is the latest of several visits to Denver International Airport (DIA) to restore the large Michael Singer sculpture in Concourse C.

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On at least two occasions since the sculpture was installed in 1994 irrigation has failed and the art has been removed to repair or replace the irrigation. In these instances I set the artwork back in place. On another occasion, rot required the replacement of several elements.

This is always a delightful project as the staff of DIA are wonderful.

Critics Love It!

Singer Sculpture Repair at Denver Airport

Here’s what one local has written about this striking work of art:

“In 1994 nature took over the 650 square meter Concourse C within the Denver International Airport and changed the usual anonymous, expected airport in both a dramatic and evocative way.

Singer’s public art project brought nature into the antiseptic airport setting by creating a vast, indoor garden, in which various climbing plants creep up the walls and across the concrete surfaces.  There is, on the whole, a multitude of intense connections between the non-linear growth elements and the more linear structures in the sculptural forms.

The garden can be viewed from the level above, where there is a McDonald’s restaurant and other fast food shops, a fascinating contrast. Singer comments, “the garden is covered with vines, ferns, all manner of growth. It becomes a living ecology, and therefore a complete contradiction to its surroundings.”   The garden, akin to the Japanese Zen-gardens, can be viewed from several vantage points but is not open and available directly to the public, which gives it a mysterious air.

However, it establishes a network of expressive, contrasting effects in its grey, cold surroundings.  The moss-covered surfaces in the northeastern end of the space lead one’s thoughts to the Moss Gardens in Kyoto, creating a poetic Japanese reference.”

And here’s what the artist says about his Atrium Garden:

“Concourse C of the Denver International Airport was re-imagined as a garden oasis within the steel and concrete cathedral-like core of the building. The garden encompasses the entire circulation space where passengers enter and exit the airport train connecting the concourse to the main airport terminal. On the lower level, adjacent to the trains, is a sculpted 7,000 square foot plaza of patterned inlaid granite and copper. Exiting the train one immediately steps upon this patterned plaza and can see hints of the garden above where the sculpted walls emerge from the platforms above the trains. As one travels up the stairs or escalator to the main concourse level the garden slowly emerges as two surrounding stepped gardens bounded by sculpted walls. The two facing gardens, each built over the train system below, frame the entire circulation core, creating the experience of ascending into the garden from below or descending into the garden from above (when returning to the main terminal). The design of the garden takes advantage of this unique experiential space with a layering of multiple sculptural levels and details that are sequentially revealed by moving through the building and ultimately understood as a whole by viewing the entire interior garden from above.

Singer Sculpture in Concourse C at Denver Airport

The two 2,500 square foot gardens are sculpted from stone, wood, concrete panels, stucco, soil and vegetation. The walls of the garden space are fifteen feet high and constructed at an angle, creating the illusion of deep hallow spaces behind the walls. Carefully selected vines climb and weave through the patinated walls and over the ground plane and sculptural elements. A moss garden is placed at the northeast end of the space, in other areas ferns abound. During periods of growth the garden vegetation can overtake the sculptural elements, leaving only traces and glimpses of the complex pieces below, and creating the sense of an archeological ruin. In the original construction irrigation water was allowed to wet the sculptural elements creating small pools of water within the garden, making the interior garden seem as though it were outdoors.

This project was restored in 2007 at the request of Denver International Airport. Prior to the restoration Michael Singer Studio received numerous inquires about the gardens expressing concern that the irrigation system had been turned off and the garden was dying. Several individuals, including travelers and people who work in the concourse noted that the gardens were also providing a refuge for birds trapped within the airport. They feared without the garden that the birds might not survive. In part due to these inquires, the waterproofing and irrigation systems were upgraded and the gardens were restored and re-planted.”

For more from the artist go to http://www.michaelsinger.com/project/denver-airport-concourse-c-atrium/.

The Restoration

My team and I completed the latest art repair, restoring it to the artist’s original intent.

The moss in one of the central concrete and wood elements did not establish itself despite the special addition of buttermilk to the concrete mixture which fosters moss growth on concrete. This failure was due to a lack of moisture. The irrigation has never been able to deliver enough moisture to this area. So artificial moss is now used and surprisingly looks quite nice.

It’s a beautiful airport terminal complex with lots of wonderful art. I highly recommend visiting DIA even if you’re not flying.