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CURRENT COLUMN

Why Paper Discolours (Part 2)
Why Paper Discolours (Part 2)

Why Paper Discolours (Part 1)
Why Paper Discolours (Part 1)

Mending a Tear in an Aboriginal Drum
Mending a Tear in an Aboriginal Drum

Distortions and Dimensional Changes
in Paper (Part 3)
Distortions and Dimensional Changes
in Paper (Part 3)


Distortions and Dimensional Changes
in Paper (Part 2)


Distortions and Dimensional Changes
in Paper (Part 1)

After treatment
Oscar Cahén: Innovative Conservation
for an Innovative Artist

Structural
Rigid Water Gels: New Treatment Options for Paper Conservators

Structural
Structural Remedies for Canvas Paintings

Digital
Organizing and Preserving Collections - Part 4: Digital-based Material

Photos
Organizing and Preserving Collections - Part 3: Photo-based Material

Organizing and Preserving Collections - Part 2: Paper-based Material

First Steps
Organizing and Preserving Collections - Part 1: The First Steps

Natural Dyes
The Use of Natural Dyes in Textile Conservation

Butterfly
A Relocation Project

Challenges of Preserving Contemporary Artwork

Preserve Your Investment through Art Conservation

A Project Completed: Heritage Preserved

Old and New Methods for Cleaning Paintings

I Can See Clearly Now – Or Can I? Part 2

I Can See Clearly Now – Or Can I?

The E.J. Hughes Mural: An Expanded Project

Is She or Is She Not an Emily

Treating Art with Sensitive Media

Malaspina Mural: An Update

For the Artist: Testing Your Materials

Conservator as Art Historian

Alum Sizing and the Art of W.J. Phillips

Treatment of an Elizabeth Keith Wood Block Print

Structural Treatment of an Emily Carr

The Treatment of a Monumental Wall Hanging

Changing Images

Preserving a Rare Record

Gold Leaf: Imitation and Genuine

The Case Against Canvas Backings

Heritage Colours: Research Discovers Original Colours

Lighting Your Art: Balancing Seeing and Protecting

The Double-Sided Emily Carr Painting

Choosing a Period Picture Frame

How to Identify a Picture Frame

Stretching Canvas and Restretching Artwork

Mounting Textiles

Aging Paintings:
Some Causes and Effects

Chine Collé Prints

What's Your Favourite Color?

Backing Removals

Rips, Holes and Tears

Filling in the Gaps

DIY – Preventative Care of Paintings

Frame it Right

Fire, Water and Smoke-Damaged Paintings

Inherent Vice

Saturated Problems:
A Water-Damaged Painting

Moldy Paper

Conserving Time

Conserving Paper: Dos and Don'ts

Repair of Textiles

Conserving Wood

Rescuing Endangered Murals

Repairing Acid-Matte Burn

Art Services & Materials
Exhibition Openings & Events


Conservation Corner Back

Jack Shadbolt, Primavera

Jack Shadbolt, Primavera (1987), in its original location in the lobby of the MacMillan Bloedel building

A Relocation Project

by Cheryle Harrison
conserv1@telus.net

“I saw the butterfly as a powerful symbol of the natural and spiritual will to survive through change and transformation.”—Jack Shadbolt (1909-1998)

The way we look at art is significantly influenced by the environment it is presented in. A painter’s brush moves across the surface of a canvas; or a tool translates the imagination of a sculptor. Once completed, an artwork’s existence may include its relocation to various places. The aesthetics of a location as well as activities in the area can influence an artwork’s meaning and value. For example, an emblematic painting or sculpture may be infused with added poignancy or drama if displayed in a church or a theatre.

Phoney Picasso

Jack Shadbolt, Primavera (1987), detail

The relocation of Jack Shadbolt’s Primavera is presently underway. In 1987, in collaboration with Alan Wood and Greg Bullen, this commissioned art project was originally installed onto the concrete mezzanine wall of the MacMillan Bloedel building in downtown Vancouver, B.C. Primavera, a sizeable painted wood sculptural image depicting two butterflies flanking a central chrysalis, has been a dynamic fixture of the architectural cityscape.

Primavera has been sold and is designated to join the art collection of the Okanagan Valley winery, Tantalus Vineyard. In preparation for its move, my conservation treatment of this unique three-dimensional artwork has just been completed with the cleaning and removal of twenty-three years of dust and grime. Repairs included the carving of a broken and missing portion of the central chrysalis. Conservation treatment recovered the brilliant colour, compositional movement, and exuberant imagery.

A professional company will be installing Primavera at its new location. The display of an artwork is not merely a matter of hammering a nail into a wall or shifting the piece for the perfect position. Preparations for this installation included acquiring information relative to the winery’s events, ongoing operations, and other environmental considerations.

A preliminary winery visit was necessary to assess the facility’s structural characteristics and various display options. The visual impact of this vibrant artwork demands a conscientious selection for its location, which will assure the artwork’s successful integration with the environment of the winery.

The relocation of Shadbolt’s creation from a bustling urban location to a pastoral and intimate setting will offer viewers a different visual and spiritual experience.

Previously: The challenges of conserving contemporary artwork
Next issue: Natural dyes in textile conservation

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 Mon, Jun 7, 2010