Friday, January 15, 2010
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Monday, July 27, 2009
The New York Times's Photos - Art & Design: Mural Makeover
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The lobby of 30 Rockefeller Plaza, that movie-set-perfect Art Deco interior, sees thousands of people every day. Most are passing through. But for the last nine months a team of six conservators has all but moved in and will be there for the next two years. Carefully concealed behind giant scrims, they spend hour after hour methodically removing decades of yellowed varnish from the building’s famed murals, one inch at a time.
Their work is so quiet and the scrims — blown-up photographs of the murals — so unobtrusive that nobody seems to notice them.
“The other day I sneezed and nearly scared someone to death,” said Gillian Randell, chief conservator for EverGreene Architectural Arts, the Manhattan company restoring the murals. (EverGreene has worked on other landmarks, including nearby Radio City Music Hall.)
When the murals in the north corridor of 30 Rockefeller’s lobby were finally cleaned, Jeffrey Greene, EverGreene’s president, had a eureka moment. “I realized the building was out of balance,” he said one recent steamy morning, standing on a second-floor balcony and staring directly into “Abolition of War,” a mural by the Spanish painter José María Sert that depicts a woman astride two cannons with a baby in her outstretched arms.
When Rockefeller Center was built (it was conceived in 1930 and finished nine years later), “the marble was supposed to have the same tonalities as the background color of the walls and the murals,” Mr. Greene said.
During construction, Edward Trumbull, a painter, designer and muralist, coordinated the color schemes of all the artwork and the finishes for the lobbies of every building in the complex. But over the years the surfaces grew darker. And as the murals’ topcoat of varnish deepened, the maintenance staff painted the undecorated parts of the walls a darker color to match. After the north corridor lobby murals were cleaned, Mr. Greene discovered that the color scheme for the whole interior was out of whack.
The murals “were supposed to be in harmony with the warm, stone color of the marble,” he explained. With the cleaning, he added, “it was as though we’d switched on the lights.”
The ravages of age became apparent in other ways, too. For example, over the years the baby in “Abolition of War” had been obscured and looked like a blemish.
Two years ago, when Tishman Speyer, co-owner and manager of Rockefeller Center, hired EverGreene, Mr. Greene spent six months doing nothing but research. “I read the Rockefeller family archives,” he said. (Robert J. Speyer, senior managing director of Tishman Speyer, would not specify the project’s cost, although it is believed to exceed seven figures.)
Like the surrounding complex, the art at 30 Rockefeller Plaza has a rich history. A committee set up by John D. Rockefeller and his son, John D. Rockefeller Jr., decided that the artworks there should have a unifying theme, New Frontiers, encompassing aspects of a modern society: science, labor, education, travel, communication, humanitarianism, finance and spirituality. Because 30 Rockefeller Plaza, near the Channel Gardens, where the Christmas tree stands every year, was considered the center’s flagship, it was to be the most elaborately decorated.
By 1933 the committee was making lists of the most talented names to consider. Initially artists like Picasso and Matisse were candidates. But they were unavailable and would have been too expensive. Sert was on the list too, along with the British painter Frank Brangwyn, who ended up creating murals for the lobby’s south corridor.
Diego Rivera was also brought on board, but his work was removed and destroyed when he refused to alter a panel glorifying Lenin. In its place, Sert created “American Progress,” one of several murals he contributed.
More than 16 feet high and 41 feet long, “American Progress” was installed in 1937 behind the information desk. An allegory for the building of contemporary America, the scene includes statues of the muses of poetry, music and dance, their arms reaching toward the men of action with laborers in the center and Abraham Lincoln, wearing a top hat, resting his hand on the shoulder of Ralph Waldo Emerson.
Brangwyn’s four murals, installed in 1934, used the same muted palette as Sert’s compositions, but the subject was man’s search for eternal truth through Christ’s teachings. Brangwyn didn’t rely on professional models but used folks from his home in Ditchling, about 50 miles south of London.
Before the cleaning began, Mr. Greene enlisted several scientists to analyze and test the murals to determine their condition, the composition of the paints and exactly what had been done by previous conservators. “I was afraid these murals were hiding a multitude of sins,” he said.
It was the 1970s varnish, they realized, that had to be removed first. One scientist formulated a chemical cleaning solution, but Mr. Greene was afraid to use it, concerned that it might damage the paint underneath.
He also tried removing the varnish with an electric toothbrush, but it didn’t come off easily enough. Then he realized that the simplest method was still the best: gently rubbing all the surfaces with an agate burnisher or a bone folder, a tool more commonly used for book binding. By working slowly, in tiny sections, the varnish began to flake off easily. “It’s a green, incredibly low-tech solution,” Mr. Greene said. Still, he added, “it is going to take two years to get through all the murals, one inch at a time.”
Beneath the varnish the original glaze on the murals still has its sheen. Nevertheless, there are small losses, or blemishes as Mr. Greene calls them, and places where previous conservators had scrubbed too hard, damaging some of the designs. He and his team have had to paint in those areas.
Their two biggest challenges still lie ahead: “Time,” Sert’s mural on the lobby’s ceiling, and “American Progress,” at the information desk. To work on Sert’s dramatic ceiling, conservators plan to build what Mr. Greene calls a “dance floor” above the foot traffic. More difficult will be tackling “American Progress” because it conceals electrical and mechanical equipment from the elevators.
“Over the years there has been damage from decades of floods,” Mr. Greene said. “We want to avoid radical surgery. First we will clean the mural, stabilize it, reattach pieces of canvas that have gotten loose, and flatten pockets that have formed.” And as they have throughout the project, conservators will delicately paint in any discolored or damaged surfaces.
“I don’t want to go too far,” Mr. Greene said. “I will leave it this way for future, newer technology.”Room For Art Gallery
Thursday, July 23, 2009
Venture into the art market with costs in mind
Room For Art Gallery
NEW YORK - In the movies, art auctions always seem so glamorous. A hushed room full of people raise paddles to bid on priceless works of art. It's a chilly scene that seems reserved for the truly privileged.
Now as the art market struggles with the broader economy, you might be wondering whether there's room for you to start your own collection.
While auction houses such as Sotheby's remain too pricey for most people, it shouldn't be difficult finding works you love at summer art fairs and local galleries, where prices can start a few hundred dollars.
The key is to know what you're getting into, and that the value of art works can rise and fall dramatically and unpredictably. That's true even in rarefied circles where five-figure price tags are the norm.
"Art is not liquid, like gold or corn. It's not quantifiable," said Allan Schwartzman, an art adviser based in New York City and former curator of the New Museum of Contemporary Art. "Art as an investment is not a wise strategy for collecting."
Sotheby's, for instance, is expected to record about $2.5 billion in auction sales this year, down from $5 billion last year, according to Craig Hallum Capital Group in Minneapolis. The drop is the result of lower prices and jittery sellers waiting to put items on the block.
Those are trends that are being reflected in the broader art market, said George Sutton, a Craig Hallum analyst. So before you start buying, here's a strategy for building a collection.
DEVELOPING AN EYE
Before you even think about buying, take time to train your eye.
Find out about local art fairs and make a habit of visiting galleries and museums. The exposure will refine your tastes and ability to discern what you like. This learning process is vital, because the works that jump out at you as a novice likely won't be the same ones you count as favorites later on.
"It's just like one's taste for wine or one's ear for music," Schwartzman said. "One's eye for art evolves too."
There's no rule on how long you should take to hone your eye, but Schwartzman usually advises new collectors to wait at least six months.
ENLISTING HELP
As you begin visiting museums and galleries, forge relationships with those who can educate you.
Don't be shy about talking to dealers at galleries. Their ultimate goal is to sell, but they can still offer valuable insight about the works on display and the greater art scene. To find a gallery near you, check the listings in the art section of your local newspaper or visit www.artinfo.com/galleryguide.
Museums often have discussion groups for collectors, and it's worth seeking out curators if you can.
"They're the ones who have the least financial interest and the broadest viewpoint," Schwartzman said.
If you can't make it to Sotheby's in New York, check out the auction house's online catalog. People are welcome to call or e-mail with a specialist who can give detailed background on listed items. Even if you're not sure you're ready to buy, talking with a specialist is a way to get your feet wet.
Hiring an art adviser is another option, but it's usually best suited for those looking to spend large sums of money. It's probably not necessary for making purchases of a couple thousand dollars.
Besides, there's probably someone with knowledge of art in your network of friends who's willing to take you around to galleries.
MAKING A PURCHASE
The art market is fickle, so turning a profit shouldn't be your driving concern in deciding what to buy.
"It's something you're presumably going to be living with, so it's important that you love it," said Helen Allen, executive director of Ramsay Fairs, which runs the Affordable Art Fair in New York City. "It should be something that will keep your interest and grow with you."
With that in mind, work out a budget for how much you want to spend. You don't have to be a millionaire to get a collection started. At the Affordable Art Fair in New York City, works start as low as $65 and come from notable galleries around the world. Remember that prints, photographs and water colors are generally less expensive than oil paintings.
Once you decide how much to spend, figure out where you'll display the art and what would be appropriate for that space.
Most people buy their art from galleries, although auction houses can be good for specific pieces. Sotheby's might seem too rich for beginners, but the auction house has more affordable pieces starting at around $5,000 too. Art fairs are ideal for seeing a variety of work in one place, but be wary of the tendency to make impulse buys.
"One should avoid the souvenir syndrome," Schwartzman said.
The less formal, outdoor presentation of an art fair might not show the work in the same light that you'd see it in a gallery either, he said.
Before you buy, do your homework on the piece you're interested in. Ask the dealer who else is collecting the artist's works, and where else the pieces are being exhibited. Also check if the artist has been written about in journals such as Art in America, Artnews and Artforum.
The more established the artist, the more likely it is the work will maintain or grow in value.
Venture into the art market with costs in mind
NEW YORK - In the movies, art auctions always seem so glamorous. A hushed room full of people raise paddles to bid on priceless works of art. It's a chilly scene that seems reserved for the truly privileged.
Now as the art market struggles with the broader economy, you might be wondering whether there's room for you to start your own collection.
While auction houses such as Sotheby's remain too pricey for most people, it shouldn't be difficult finding works you love at summer art fairs and local galleries, where prices can start a few hundred dollars.
The key is to know what you're getting into, and that the value of art works can rise and fall dramatically and unpredictably. That's true even in rarefied circles where five-figure price tags are the norm.
"Art is not liquid, like gold or corn. It's not quantifiable," said Allan Schwartzman, an art adviser based in New York City and former curator of the New Museum of Contemporary Art. "Art as an investment is not a wise strategy for collecting."
Sotheby's, for instance, is expected to record about $2.5 billion in auction sales this year, down from $5 billion last year, according to Craig Hallum Capital Group in Minneapolis. The drop is the result of lower prices and jittery sellers waiting to put items on the block.
Those are trends that are being reflected in the broader art market, said George Sutton, a Craig Hallum analyst. So before you start buying, here's a strategy for building a collection.
DEVELOPING AN EYE
Before you even think about buying, take time to train your eye.
Find out about local art fairs and make a habit of visiting galleries and museums. The exposure will refine your tastes and ability to discern what you like. This learning process is vital, because the works that jump out at you as a novice likely won't be the same ones you count as favorites later on.
"It's just like one's taste for wine or one's ear for music," Schwartzman said. "One's eye for art evolves too."
There's no rule on how long you should take to hone your eye, but Schwartzman usually advises new collectors to wait at least six months.
ENLISTING HELP
As you begin visiting museums and galleries, forge relationships with those who can educate you.
Don't be shy about talking to dealers at galleries. Their ultimate goal is to sell, but they can still offer valuable insight about the works on display and the greater art scene. To find a gallery near you, check the listings in the art section of your local newspaper or visit www.artinfo.com/galleryguide.
Museums often have discussion groups for collectors, and it's worth seeking out curators if you can.
"They're the ones who have the least financial interest and the broadest viewpoint," Schwartzman said.
If you can't make it to Sotheby's in New York, check out the auction house's online catalog. People are welcome to call or e-mail with a specialist who can give detailed background on listed items. Even if you're not sure you're ready to buy, talking with a specialist is a way to get your feet wet.
Hiring an art adviser is another option, but it's usually best suited for those looking to spend large sums of money. It's probably not necessary for making purchases of a couple thousand dollars.
Besides, there's probably someone with knowledge of art in your network of friends who's willing to take you around to galleries.
MAKING A PURCHASE
The art market is fickle, so turning a profit shouldn't be your driving concern in deciding what to buy.
"It's something you're presumably going to be living with, so it's important that you love it," said Helen Allen, executive director of Ramsay Fairs, which runs the Affordable Art Fair in New York City. "It should be something that will keep your interest and grow with you."
With that in mind, work out a budget for how much you want to spend. You don't have to be a millionaire to get a collection started. At the Affordable Art Fair in New York City, works start as low as $65 and come from notable galleries around the world. Remember that prints, photographs and water colors are generally less expensive than oil paintings.
Once you decide how much to spend, figure out where you'll display the art and what would be appropriate for that space.
Most people buy their art from galleries, although auction houses can be good for specific pieces. Sotheby's might seem too rich for beginners, but the auction house has more affordable pieces starting at around $5,000 too. Art fairs are ideal for seeing a variety of work in one place, but be wary of the tendency to make impulse buys.
"One should avoid the souvenir syndrome," Schwartzman said.
The less formal, outdoor presentation of an art fair might not show the work in the same light that you'd see it in a gallery either, he said.
Before you buy, do your homework on the piece you're interested in. Ask the dealer who else is collecting the artist's works, and where else the pieces are being exhibited. Also check if the artist has been written about in journals such as Art in America, Artnews and Artforum.
The more established the artist, the more likely it is the work will maintain or grow in value.
Wednesday, July 15, 2009
Thomas Kinkade’s New Canvas Edition Sells Out in 20 Hours
MORGAN HILL, CA—In just 20 hours from the end of the dealer allocation, the entire canvas edition of Thomas Kinkade’s “Tinker Bell and Peter Pan Fly to Neverland” available to dealers sold out. This marked the fastest-selling image in Thomas Kinkade Company history.Since the beginning of the year, more than 80 dealers have joined the Kinkade Company to represent and sell works to previously unexplored markets.
When asked about the developments at the Thomas Kinkade Company, Senior Vice President of Retail Development Rick Barnett said, “It has long been established that Kinkade’s work sells in a normal economic retail environment and now it is evident that even in the most difficult times, his message of hope and simpler times resonates with the consumer. ”
“Tinker Bell and Peter Pan Fly to Neverland” is part of The Disney Dreams Collection, in which paintings are based on Kinkade’s inspiration from classic Disney films and characters. The first two pieces in the collection,“Snow White Discovers the Cottage and Pinocchio Wishes Upon A Star, have been the most popular images ever released by the Thomas Kinkade Company, creating record sell-outs at the publisher for both images.
“As with the first two paintings in my twelve piece Disney Dreams Collection, I try to tell the whole story in a single image—what I refer to as a ‘narrative panorama.’ We see Neverland in the distance, just below the “second star to the right,” as the full moon bathes the scene with its silvery glow. The lights of London twinkle along the river Thames, as the clouds take shape, if only in our imagination, as characters from the adventure—Captain Hook, Smee, the Lost Boys and the ubiquitous ticking crocodile. But for me, the central character of the story will always remain Tinker Bell, the enchanted fairy princess who makes the entire journey of imagination possible,” Kinkade related about the piece.
For more information on the work of Thomas Kinkade, visit http://www.thomaskinkade.com/.
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