Vibrant colour was essential to the paintings of the American pop artist Roy Lichtenstein (1923-1997), and when he began exploring outdoor sculpture in the late 1970s, vivid hues-often achieved through the use of recently developed industrial paints and coatings-remained an important part of his artistic vocabulary. Today, preserving these remarkable works after they have endured decades in outdoor environments around the world is an issue of pressing concern. This abundantly illustrated volume is based on extensive archival research of his studio materials, interviews with his assistants, and a thorough technical analysis of the sculpture Three Brushstrokes, now in the collection of the J. Paul Getty Museum. The book concludes with a chapter showing various options for the care, conservation, and restoration of Lichtenstein's sculptural works, making this an essential resource for conservators, curators, and others interested both in the iconic artist and modern sculpture in general.

Over the last decades, the use of lasers in artwork conservation has became an important tool for many conservators, scientists, architects and other experts, who are involved in the care of monuments and artefacts or applied laser technology. Professor Costas Fotakis first brought together restorers and scientists in 1995 to discuss the potential of lasers in art conservation. The field of Lasers in the Conservation of Artworks has since gained considerably in importance, and nowadays restorers and laser scientists work closely together to develop new applications. Furthermore a large number of national and international research projects have been carried out by conservator-restorers, architects and scientists. In the last 10 years, historical and artistically high-quality monuments (e.g. St. Stephens Cathedral in Vienna) have been cleaned or measured by laser, and this has established the laser in the spectra of tools that are useful in the practical realm of artworks. The proceedings of the 2005 congress addresses scientists, conservator-restorers, companies, architects, decision-makers and other experts involved in conservation projects or in the research of new laser equipment."

Since 1995, when Costas Fotakis first brought together restorers and scientists to discuss the potential of lasers in art conservation, the field has grown enormously in importance, and today restorers and laser scientists work together to develop new applications. This book presents the more than six dozen research papers prepared for LACONA V (Lasers in Art Conservation), held in Osnabrueck/Germany in September 2003. The fifth congress once again gathered restorers, art historians, museum staff, laser scientists and laser manufacturers. The topics include, among others: laser cleaning of artworks (case studies and side effects), removal of former conservation layers, fundamentals of laser-artwork interaction, online monitoring and process control, laser diagnostics, spectroscopy for monitoring and identification, networks and cooperation projects.

Migration is in the news every day. Whether it be the plight of refugees fleeing Syria, or the outbreak of the Zika virus across Latin America, the modern world is fundamentally shaped by movement across borders. Migration, arising from the 2018 Darwin College Lectures, brings together eight leading scholars across the arts, humanities, and sciences to help tackle one of the most important topics of our time. What is migration? How has it changed the world? And how will it shape the future? The authors approach these questions from a variety of perspectives, including history, politics, epidemiology, and art. Chapters related to policy, as well as those written by leading journalists and broadcasters, give perspective on how migration is understood in the media, and engage the public more widely. This interdisciplinary approach provides an original take on migration, providing new insights into the making of the modern world.

The conservation and protection of buildings that constitute our cultural heritage are complex tasks calling for a comprehensive knowledge of the historical background of the buildings, as well as the construction technologies and materials used. Nanomaterials in Architecture and Art Conservation gives a comprehensive overview of the state of the art of using nanomaterials in conservation sciences, mainly for stone, mortar and plaster strengthening, but also for the consolidation of wall paintings. The book compiles and details deterioration mechanisms of stone and historical mortars, as well as methods of characterising and testing consolidation effects. The non- or semi-destructive characterisation methods that will be presented allow additional measurements to characterise objects before and after any interventions. Besides, general aspects of inorganic consolidants are targeted. The focus, in particular, is the application of nanolime as a new consolidation agent. Basic characteristics and application advices as well as beneficial combinations with other consolidation agents, such as silicic acid esters, are emphasised. What makes this book so special is the large number of practical applications described from the viewpoint of different restorers, offering a direct inside view of the procedure for the conservation of historical monuments. Restorers dealing with stone, mortar and plaster conservation; artists; advanced undergraduate- and graduate-level students of conservation science, art and nanotechnology; offices for the protection of monuments and heritage agencies; and researchers in materials science, conservation, nanotechnology and chemistry, especially those with an interest in applied sciences, will find this book a great reference.

The field of "Lasers in the Conservation of Artworks" is gaining importance and restorers and laser scientists now work together to develop new applications. This book presents a fascinating and valuable application of laser technology. The proceedings of the 2005 congress addresses scientists, conservator-restorers, companies, architects, decision-makers and other experts involved in conservation projects or in the research of new laser equipment.

Science and art are increasingly interconnected in the activities of the study and conservation of works of art. Science plays a key role in cultural heritage, from developing new analytical techniques for studying the art, to investigating new ways of preserving the materials for the future. Following on from the 2014 title Science and Art: The Painted Surface, this book consists of a series of chapters written together by scientists, art historians, conservators, curators and artists dedicated to conservation, execution techniques, languages and conceptual topics. Science and Art: The Contemporary Painted Surface largely covers execution techniques, material's conservation and languages of artists, representative of twelve different countries, all protagonists of the development of innovative significant techniques and methodologies. The book opens with a focus on widely historicized artists, such as Jackson Pollock, Lucio Fontana, Enrico Baj, Piero Manzoni and Joseph Albers. Its core is dedicated to the work of major worldwide renowned living artists, in a perspective that, while considering the Sixties as the historical starting point of contemporaneity, does not neglect to offer a view on the work done in the immediately preceding years. Several interviews with artists are included. Final chapters are dedicated to contemporary design, net art, and painted surfaces in contemporary architecture. Presented in an easily readable form for a large audience, the book guides readers into new areas uncovered by the link between science and art, and will be of interest to artists, art historians and curators, as well as those who appreciate art. Reviews of Science and Art: The Painted Surface 'Science and Art provides an excellent read for art historians, who will instantly recognise the famous pieces that have been studied, while giving them insight into how a painting was constructed, what it is made from, or how the colours would have looked when they were freshly painted.' Chemistry World, 6 November 2014 'Science and Art is recommended for students, teachers, and the general public who are interested in chemistry or other sciences and art, as well as applications of the former to the latter.' J. Chem. Educ., 2016, 93(5), 810-810

Art Markets, Agents and Collectors brings together a wide variety of case studies, based on letters and detailed archival research, which nuance the history of the art market and the role of the collector within it. Using diaries, account books and other archival sources, the chapters in this volume show how agents set up networks and acquired works of art, often developing the taste and knowledge of the collectors for whom they were working. They are therefore seen as important actors in the market, having a specific role that separates them from auctioneers, dealers, museum curators or amateurs, while at the same time acknowledging and analysing the dual positions that many held. Each chronological period is introduced by a contextual essay, written by a leading expert in the field, which sets out the art market in the period concerned and the ways in which agents functioned. This book is an invaluable tool for those needing an accessible yet broad introduction to the intricate workings of the art market.

Following official protection of natural environments for public benefit in Fontainebleau Forest in France (1861) and in Yosemite (1864) and Yellowstone (1872) in the USA, the New Forest Act of 1877 marked the first major instance in Britain. Art and artists were involved in this achievement to a greater extent than in all preceding cases. For the first time, and within an ecocritical framework, this study examines the role played by art during the previous anti-enclosure campaign - highlighting both the hitherto-unacknowledged extent of German influence in terms of the original artistic initiative and of German artists' participation in the cause, as well as the significance of connections between landscape art of the day and priorities of the early Open Spaces movement. Ecocriticism in art history With works by the German and British artists George Bouverie Goddard, Wilhelm Kumpel, Alfred Pizzi Newton, Wilhelm Trautschold, Edmund George Warren

In this era of high energy prices, economic uncertainty, and demographic change, an increasing number of Americans are showing an interest in urban living as an alternative to the traditional automobile-dependent suburb. Many people are also concerned about reducing their annual vehicle miles traveled (VMT) as a way to lower greenhouse gas emissions affecting climate change. But providing transportation options is complex and demands a shift in land use patterns and the way we locate and shape future development.Density is often defined in terms of population per square mile, but such a crude measure makes it difficult to understand the relationship between density and city life. We need to think about urban density by including the density of jobs, schools, and services such as retail, transit, and recreational facilities. Fitting more amenities into a neighborhood within a spatial pattern that invites walking will create the type of built environment that offers real transportation options.Landscape architect and urban designer Julie Campoli challenges our current notions of space and distance and helps us learn to appreciate and cultivate proximity. In this book, developed as a follow-up to Visualizing Density (2007, co-authored with aerial photographer Alex S. MacLean), she illustrates urban neighborhoods throughout North America with hundreds of street-level photographs.Researchers delving into the question of how urban form affects travel behavior identify specific characteristics of place that boost walking and transit use while reducing VMT. In the 1990s some pinpointed diversity (of land uses), density, and design as the key elements of the built environment that, in specific spatial patterns, enable alternative transportation. After a decade of successive studies on the topic, these "three Ds" were joined by two others deemed equally important--distance to transit and destination accessibility--and together they are now known as the "five Ds." Added to the list is another key player: parking.The Ds have evolved into a handy device for defining and measuring compact form and predicting how that form will affect travel and reduce VMT. They share the characteristics of compact development often described as "smart growth." Lowering VMT by any significant measure will require integrating the D attributes at a grand scale.While thinking big is important, this book visualizes a low-carbon environment in smaller increments by focusing on 12 urban neighborhoods of approximately 125 acres each--a comfortable pedestrian walk zone. Some are in familiar cities with historically dense land use patterns, intertwined uses, and comprehensive transit systems; others have emerged in unexpected locations, where the seeds of sustainable urban form are taking root on a micro level.- LoDo and the Central Platte Valley, Denver, Colorado- Short North, Columbus, Ohio- Kitsilano, Vancouver, British Columbia- Flamingo Park, Miami Beach, Florida- Little Portugal, Toronto, Ontario- Eisenhower East, Alexandria, Virginia- The Pearl District, Portland, Oregon- Downtown and Raynolds Addition, Albuquerque, New Mexico- Greenpoint, Brooklyn, New York- Little Italy, San Diego, California- Cambridgeport, Cambridge, Massachusetts- Old Pasadena, Pasadena, CaliforniaThese places were selected because each offers choices: travel options, housing types, and a variety of things to do and places to shop. Their streets are comfortable, attractive, and safe for biking and walking. They all show how compact development can take shape in different regions and climates. Six specific qualities make them walkable: connections, tissue, population and housing density, services, streetscape, and green networks.Although some of these neighborhoods are the result of recent development, most have shared a similar trajectory: bustling industry and growth followed by decline and depopulation as rail-based transportation was replaced by the highway, dispersing economic energy in more diffuse patterns at the edges of cities. In many of these places, the bad years took their toll, eating away at the intricately connected urban fabric. By the end of the twentieth century, however, the story had changed. Frustration with the negative side effects of low-density sprawl led to a realization that these older, urban neighborhoods had a lot to offer.First a trickle and soon a steadier stream of investment flowed back toward cities and into downtown neighborhoods. Their "good bones"--human-scale buildings and ready-made networks of small blocks and connected streets that shorten distances and make walking easy--are drawing people back into these neighborhoods.

How do you keep the cracks in Starry Night from spreading? How do you prevent artworks made of hugs or candies from disappearing? How do you render a fading photograph eternal--or should you attempt it at all? These are some of the questions that conservators, curators, registrars, and exhibition designers dealing with contemporary art face on a daily basis. In Still Life, Fernando Dominguez Rubio delves into one of the most important museums of the world, the Museum of Modern Art in New York, to explore the day-to-day dilemmas that museums workers face when the immortal artworks that we see in the exhibition room reveal themselves to be slowly unfolding disasters. Still Life offers a fascinating and detailed ethnographic account of what it takes to prevent these disasters from happening. Going behind the scenes at MoMA, Dominguez Rubio provides a rare view of the vast technological apparatus--from climatic infrastructures and storage facilities, to conservation labs and machines rooms--and teams of workers--from conservators and engineers to guards and couriers--who fight to hold artworks still. As the MoMA reopens after massive expansion and rearranging of its space and collections, Still Life not only offers a much-needed account of the spaces, actors, and forms of labor traditionally left out of the main narratives of art, but it also offers a timely meditation on how far we, as a society, are willing to go to keep the things we value from disappearing into oblivion.

Renowned museum consultant and researcher Beverly Serrell and a group of museum professionals from the Chicago area have developed a generalizable framework by which the quality of museum exhibitions can be judged from a visitor-centered perspective. Using criteria such as comfort, engagement, reinforcement, and meaningfulness, they have produced a useful tool for other museum professionals to better assess the effectiveness of museum exhibitions and thereby to improve their quality. The downloadable resources include a brief video demonstrating the Excellent Judges process and provides additional illustrations and information for the reader. Tested in a dozen institutions by the research team, this step-by-step approach to judging exhibitions will be of great value to museum directors, exhibit developers, and other museum professionals.

Around 1505 Goossen Van der Weyden, Rogier's grandson, painted a monumental altarpiece depicting the various phases of Saint Dymphna's insane life. This Irish princess, who fled her incestuous father in the sixth century, was beheaded in the Kempen village of Geel. On account of her tragic end and uncompromising chastity, the princess was venerated from that moment on as the patron saint of the mentally ill. From the late Middle Ages, pilgrims flocked to Geel in large numbers to catch a glimpse of Saint Dymphna. They paid homage to the local celebrity in the hope that she would alleviate their mental problems. To this day, Geel is known for its unique treatment of the mentally ill, who are cared for at home by locals. Goossen Van der Weyden's altarpiece came into being at the height of Dymphna's popularity. The masterpiece was intended for the church of Tongerlo Abbey. Today this work is characterised by a remarkable iconography and an eventful history: a panel was lost and the triptych was even sawn into pieces. It ultimately came into the hands of a team of specialists from Belgium and abroad who subjected the altarpiece to a meticulous conservation over a period of three years, a colossal undertaking during which new techniques were used. This gave the conservators unprecedented insight into the mind, and workshop, of an early 16th century painter. This richly illustrated book is the result of years of research and contains essays by Till-Holger Borchert (Musea Brugge), Stephan Kemperdick (Gemaldegalerie, Staatliche Museen, Berlin), Katharina Van Cauteren (The Phoebus Foundation, Antwerp), Lucinda Timmermans (Rijksmuseum, Amsterdam), Patrick Allegaert (Dr. Guislain Museum, Ghent) and many others.

Museums After Modernism is a unique collectionthat showcases the ways questions about the museum go to the heart of contemporary debates about the production, consumption and distribution of art. The book features expert artists, curators and art historians who grapple with many of the vibrant issues in museum studies, while paying homage to a new museology that needs to be considered.* Examines the key contemporary debates in museum studies* Includes original essays by noted artists, curators, and art historians* Engages with vital issues in the practice of art-making and art-exhibiting* Edited by the world-renowned art historian and author, Griselda Pollock

Intended for conservators with or without a scientific background, this book covers the material science of textiles including their deterioration, condition and investigation. It will also facilitate understanding of the chemical processes during various cleaning treatments and their effects on textiles The book provides the textile conservator with the necessary tools to understand the chemistry of the objects they are asked to treat and to make informed decisions about how to preserve textiles The combination of a chemist and a conservator author team gives textile conservators ready access to the necessary chemical knowledge and scientists an understanding of textile conservation necessary to direct their research The practical examples and case studies illustrates the utility of the relatively large chemical introduction and the essential chemical information which is included.

Vincent van Gogh's Sunflowers are seen by many as icons of Western European art. Two of these masterpieces - the first version painted in August 1888 (The National Gallery, London) and the painting made after it in January 1889 (Van Gogh Museum, Amsterdam) - have been the subject of a detailed comparison by an interdisciplinary team of experts. The pictures were examined in unprecedented depth using a broad array of techniques, including state-of-the-art, non-invasive imaging analytical methods, to look closely at and under the paint surface. Not only the making, but also the subsequent history of the works was reconstructed, including later campaigns of restoration. The study's conclusions are set out in this book, along with the fascinating genesis of the paintings and the sunflower's special significance to Van Gogh. More than 30 authors, all specialists in the field of conservation, conservation science and art history, have contributed to the research and publication presenting the outcomes of this unique project.

Eggshells, flowers, onion peels, sponge cake, dried bread, breast milk-these are just a few of the biological materials that some contemporary artists have used to make art. But how can works made from such perishable ingredients be preserved? And what ethical and conceptual dilemmas might be posed by doing so? Because they are prone to rapid decay, even complete disappearance, biological materials used in art pose a range of unique conservation challenges. This groundbreaking book probes the moral and practical challenges associated with displaying, collecting, and preserving these unique works of art. Theoretical considerations are complemented by a range of specific case studies, thereby affording a comprehensive and richly detailed overview of current thinking and practices on this topic. With contributions by conservators, scholars, curators, and artists, Living Matter is the first publication to address broadly these provocative issues, exploring the role of biological materials in the creative process and presenting a wide variety of possible approaches to their preservation. The free online edition of this publication is available at getty.edu /publications/living matter/ and includes videos and zoomable illustrations. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book.

A groundbreaking analysis of one of the most significant collections of African art in the United States The collection of African art at the Virginia Museum of Fine Arts is among the most comprehensive in the United States, featuring works in all media from across the continent dating from antiquity to today. This handsome volume, the product of a groundbreaking collaboration between the museum's curators and conservators, supported by a major grant from the Andrew W. Mellon Foundation, presents highlights from the collection-some never before published-alongside new scientific analysis and imaging. Six chapters detail both the historiographical and technical concerns at play in collecting and conserving African art. The result promises to deepen our understanding of the art in the dynamics of their original communities and as they appear now in a museum context. Distributed for the Virginia Museum of Fine Arts

A unique book showing how conservators and scientists can work together to develop new methods in the restoration of art and artefacts. Before the 1970s, most information concerning the conservation and restoration of paintings, wood, and archaeological artefacts were focused on the history of the artefacts, previous attempts of conservation, and the future use of these artefacts. The technical methods of how the restoration and conservation were made were dealt with only very briefly. Today however, sophisticated methods of scientific analysis such as DNA are common place, and this encourages conservators and scientists to work together to share the development of new methods for analysis and conservation of artefacts. This book focuses on the chemicals used for conservation and restoration of various artefacts in artwork and archaeology, as well as special applications of these materials. Also, the methods for cleaning, conserving and restoring, as well as the methods for the analysis of the state of the respective artefacts, are described and detailed. Topics include oil paintings, paper conservation, textiles and dyes, archaeological wood, fossils, stones, metals and metallic coins, as well as glasses, including church windows. Audience Conservators and restorers in museums as well as chemists and physicists who are interested to use their scientific methods for the analysis and conservation of artefacts.

This volume tells the singular story of an uncanny object at the cusp of art and science: a 450-year-old automaton known as “the monk.” The walking, gesticulating figure of a friar, in the collection of the Smithsonian Institution’s National Museum of American History, is among the earliest extant ancestors of the self-propelled robot. According to lore from the court of Philip II of Spain, the monk represents a portrait of Diego de Alcalá, a humble Franciscan lay brother whose holy corpse was said to be agent to the miraculous cure of Spain’s crown prince as he lay dying in 1562. In tracking the origins of the monk and its legend, the authors visited archives, libraries, and museums across the United States and Europe, probing the paradox of a mechanical object performing an apparently spiritual act. They identified seven kindred automata from the same period, which, they argue, form a paradigmatic class of walking “prime movers,” unprecedented in their combination of visual and functional realism. While most of the literature on automata focuses on the Enlightenment, this enthralling narrative journeys back to the late Renaissance, when clockwork machinery was entirely new, foretelling the evolution of artificial life to come.

Protecting, healing, or punishing-people of various eras and origins have attributed such powers to the sculptures that are being presented together here for the first time: be it the sculpture of the Mangaaka from what is today the Republic of Congo, the protective goddess Mahamayuri from China, or the Maria on the globe from Southern Germany. Forty-five objects created between the fourth and the nineteenth century from two museums in Berlin provide a vivid testimony to the ever-present need for protection and orientation when dealing with individual or social crises. They represent the existence of an invisible world of gods, spirits, or ancestors, and create a connection between this world and a "different reality." As a result of how they are presented in museums, their context of use is, however, often lost-a situation that is reflected on by the authors of this book.

Though conservation plays a decisive role in the public's experience of artworks in museums, visitors are often unaware of what it takes to keep them vibrant, intact and in some cases existent, and until now there has never been a comprehensive, accessible volume that explains this science to the layperson. Here, the respected conservation scholar Richard Newman recounts tales of uncovered forgeries and unknown masterpieces from more than 130 years of MFA history--tales of important works rescued from neglect and abuse, and of new insights that have helped us understand how artists and craftspeople throughout history worked, lived and created the masterpieces we now see on display. Covering objects from all periods, media and genres--ancient to contemporary, painting to furniture, Eastern to Western--this latest volume in the MFA Highlights series invites readers to share a backstage look at the restoration, study and even discovery of some of the world's most remarkable artworks.

Sarnath has long been regarded as the place where the Buddha preached his first sermon and established the Buddhist monastic order. Excavations at Sarnath have yielded the foundations of temples and monastic dwellings, two Buddhist reliquary mounds (stupas), and some of the most important sculptures in the history of Indian art. This volume offers the first critical examination of the historic site. Frederick M. Asher provides a longue duree (long-term) analysis of Sarnath-including the plunder, excavation, and display of antiquities and the Archaeological Survey of India's presentation-and considers what lies beyond the fenced-in excavated area. His analytical history of Sarnath's architectural and sculptural remains contains a significant study of the site's sculptures, their uneven production, and their global distribution. Asher also examines modern Sarnath, which is a living establishment replete with new temples and monasteries that constitute a Buddhist presence on the outskirts of Varanasi, the most sacred Hindu city.