Column and Stripe Tour of the Cleveland Museum of Art Conservation Lab (@clevelandart)

Mr. Knutas with Van Gogh's The Road Menders,
prepared for loan, in the Paintings Lab

This evening Rachel I had the pleasure of attending a tour and talk by Per Knutas, Chief Conservator of the Cleveland Museum of Art, as part of a program hosted by Column and Stripe, the Cleveland Museum of Art's affiliate group for young friends.

I've found conservation fascinating both for the ethical and technical challenges and questions posed -- and Rachel has conservation work experience (including, most impressively to me reconstructing the shell of an ostrich egg from over 100 individual pieces while living in Italy) so there was no doubt we would attend this evening's program. I was particularly interested because while Rachel has volunteered in the labs the only part of the tightly-secured conservation suite I've see is the classroom and I'm always up for a behind-closed-doors tour.

Illustrating the level of documentation
that may be associated with the
conservation of a single work.

Per, a relatively new addition to the Cleveland Museum of Art staff, started the evening in the Conservation classroom with an overview of both the profession in general and Conservation at the Cleveland Museum of art, including the ethical considerations such as that everything a conservator does must be documented and reversible. I found it interesting to hear that different considerations apply between "modern" works, where a greater level intervention and consultation with the artist is permitted, versus historical pieces where a very conservative approach is taken.

The Rembrandt amongst the conservator's tools
(Click for a larger version)

Delving further into the inner sanctum -- and uncharted territory for myself and most of the attendees -- lab doors were opened and the covers were literally lifted off of works in the process of being conserved by the museum's staff of science-driven artisans. Take, for example, a Rembrandt undergoing cleaning and conservation by paintings conservator Dean Yoder. A think layer of varnish was laid over the work to isolate the "original" paint from the conservation work, and further paints that fluoresce under ultraviolet light are used for the necessary in painting to make the work done immediately apparent to future scholars and conservators.

Demonstrating the UV Light,
highlighting in painting

The careful treatment of works does not stop there, but also careful consideration of cultural traditions. For example, Mr. Knutas related that in considering critical preservation work on a document with religious significance where the culture forbids disturbing living things. To respect that culture, no animal glues can be used -- no brushes with animal hair can be used. The suggestions that it would be proper not to wear leather belts or shoes while working on the piece and that the conservators involved not eat meat the day before are being considered. I knew conservation was a hyper-detail oriented craft, but I had never considered how cultural concerns could so dramatically affect the execution of conservation -- and the lengths the Cleveland Museum of Art is willing to go to respect those traditions.

 Further, in that regard, the Asian Paintings Lab, staffed by conservator Sara Ribbans, is one of only four in United States museums. Ms. Ribbans was trained in the Japanese tradition, and carries that on in Cleveland. The lab has a distinctly different feel than the other labs we visited, including low tables and Tatami mats -- the tools used, likewise, are the same those that have been used by Japanese artisans for centuries.

Rachel pondering frames

As the tour concluded and we made our way back to the classroom where the talk began, we once again passed through a long hallway lined, floor to ceiling, with empty frames. No, this isn't the secret frame shop in the museum, instead, it's storage for the frames that belong to pieces undergoing conservation. A sort of waiting room in the art hospital, if you will, where frames patiently wait to be reunited with their loved ones.

In any event it's quite an unexpectedly dramatic scene.

Oh, and another tidbit: There are more than 45,000 objects in the Cleveland Museum of Art's collection. Less than 2% are on view at any one time.

For more information about Column and Stripe, or to join, visit http://www.columnandstripe.org/

Lincoln

Column and Stripe/NYC - The Armory Show [Cleveland Museum of Art]

As many regular readers (or those who pay attention to the "Disclosures" bar off to the right [your other right]) know, I'm involved in Column and Stripe: The New Friends of the Cleveland Museum of Art. Unfortunately travel demands of my real job haven't been conducive to attending all of the great events that our Programming Committee organizes.

Exterior of Pier 92 from Across 12 Ave.

Thanks to a last minute change in schedules for one of my big projects, and a United Fare Sale that made Cleveland to New York a $161 round drip flight (and cashing in some of my Hilton HHonors points for a few nights in one of my favorite hotels -- the Hilton Times Square) I was able to join a group of Column and Stripers 400 miles from home at New York City's Armory Show.

C&S Attendees; Mark Cole center background.

Mark Cole, Cleveland Museum of Art's Associate Curator of American Painting and Sculpture (until 1960) was in New York as well and graciously guided us through Pier 92's Modern Art.

Mr. Cole not only introduced us to some of the dealers who he knows, but also pointed out artists with Cleveland connections and artists who he thinks are significant and would like to see added to the museum's collection to complete the story (he remained mum as to specific works).

After our overview fly-by the group splintered and attacked the show in greater detail. The show which brings together leading art dealers from around the globe and concentrates them on two of the piers of Manhattan's West Side is a little overwhelming. ("Modern" is on pier 92, "Contemporary" is on pier 94)

One aisle of dealers at Pier 94

Although the show is made up of dealers (after all, unlike a museum, the goal here is to sell art), it is curated -- the dealers have to present a proposal months in advance, and from what I understand the cost of exhibiting can push into the high five-figures, so the quality of art is very high across the board. So are the prices -- many, though not all, of the exhibitors have prices listed on the label accompanying each piece, with prices I noticed ranging from about $2,500 to upwards of $370,000 and spanning from the technically simple to the obscenely complex.

It was a wonderful opportunity to enjoy art outside of Cleveland with similarly interested young Clevelanders, and hopefully this will be the first of many trips -- and that Rachel's work schedule will allow her to join in the next trip.

[By the way, any of the pictures should be clickable for a larger version if you so desire]

Lincoln

Column and Stripe: Transformer Station Hard Hat Tour (@ClevelandArt #ColumnAndStripe)

I'm a sucker for a construction site -- I'm see a lot of interesting sites through my day job (a hard hat and a reflective safety vest are perpetually in my trunk) but some of the sites I find most interesting are a little bit trickier to access -- the Cleveland Museum of Art's new gallery space (I am forever tempted to sneak around the barrier and go for a look-see) being one example. [Rachel and I did sneak in for the Atrium preview which was an amazing opportunity to peek in].

The Transformer Station, on West 29th Street on Cleveland's West Side is an interesting collaboration between the Fred and Laura Ruth Bidwell Foundation and The Cleveland Museum of Art, with each organization programming the space for six months out of the year. Tonight, the Bidwells and their Architect invited Column and Stripe and AIA Cleveland members for a presentation on the project and to tour the space well before it's February 1, 2013 public opening.

 

Once the formal presentation had ended the assembled guests were free to roam throughout the building and peek into, over, and under every nook and cranny of the space -- from an old tunnel that one presumes brought the conductors  powering Cleveland's street cars in and out of the building and glass insulators on the ceiling in the historic original building to the elevator shaft and gallery space in the new addition (oh and the 15-ton capacity overhead crane in the original building definitely makes a unique statement in the appropriately named crane gallery.

 

After the nooks and crannies had been thoroughly explored, Column and Stripe's president Graham Veysey hosted the attendees in his hip pad across the street at the Ohio City Firehouse with an assortment of beer, appetizers, conversation, and food courtesy of Touch Supper Club's food truck.

Lincoln
(Full disclosure: I serve as the chair for Column and Stripe's Philanthropy Committee)

Column and Stripe: Cleveland Public Art and Architecture Walking tour (@clevelandart #columnandstripe)

On Thursday evening a group of about 30 Column and Stripe members assembled in the plaza separating Progressive Field from The Q downtown.

Our host for the evening was Greg Peckham, Managing Director of LAND Studio and Thomas Starinsky, Associate Director of The Historic Gateway Neighborhood Corporation.

The talk started revealing some unique features of the complex we were standing in, credited as one of the first planned urban sporting complexes in the country. Integrated with the existing neighborhood and with features now taken for granted -- like a sunken playing surface in Progressive Field so that the activity can be seen by passers by outside the park.  Public art in the project is functional (such metal spires near Ontario street conceal ventilation for underground kitchen activities), historical (a planter that incorporates photos, maps, and merchandise from the Central Market that had occupied the site from 1850.

Column and Stripe Members
Outside the Colonial Arcade /
Courtesy Clarissa Westmeyer

Temporarily halted by a passing rainstorm we took shelter under a convenient bridge and learned a little bit more about the mission of both organizations before the skies parted and we pressed on toward the Colonial Arcade -- stopping for a moment to discuss Cleveland's Bike Rack, a new-to-me bicycle parking option for downtown commuters that includes lockers as well as showers and changing facilities for professionals who want to bike to work.

At the Colonial Arcade we had a chance encounter with the Arcade's new developer inviting our ideas for what we'd like to see in the next generation of downtown retail and along with a plug for a Pop-Up Party on September 27th from 5-8pm that sounds very interesting. Although the Colonial had been a stop on a walking tour I took about a year ago, I had never actually been inside the Arcade and was excited about stepping through the doors. It's a bit smaller in scale than The Arcade, but nonetheless an impressive piece of architecture connecting  Euclid Avenue on the North to Prospect on the South.

The Arcade / Courtesy
Clarissa Westmeyer

Continuing with a slight jog on Euclid Avenue there was a brief discussion of the public art elements involved in the Euclid Corridor project (many of them previously discussed in these two posts from the "Take a Hike" walking tours series) before continuing through The Arcade -- an engineering challenge so great for its time that only a bridge builder was willing to take it on, and one of my favorite interior spaces in Cleveland.

Passing through The Arcade we made a slight jog again -- this time on Superior Avenue to visit the Cleveland Public Library's Reading Garden (home to some of my favorite sculptures from Tom Otterness -- whose work I've since stalked in New York and Kansas City among others). The original plan, it turns out, for the Cleveland Public Library's expansion was  for the new building to be attached to the existing facility. For a variety of reasons that generated outrage and the result was two distinct buildings linked by a tunnel running under the reading garden.

Column and Stripers on the roof
at Greenhouse Tavern / Courtesy
Clarissa Westmeyer

With the Cleveland Public  Library closed for the evening we didn't actually enter the garden (or fully experience the LAND-facilitated temporary art installation in the garden) we walked around the perimeter of the garden before concluding the official tour in Mall A, home to Cleveland's Fountain of Eternal Life where the past and future architecture of the Mall Plan buildings was discussed -- from the new (and very contemporary) Medical Mart respecting the vertical rules of the existing classical buildings to the "green roof" of the subterranean Cleveland Convention center.

The evening drew to a fun close with an extended happy hour on the roof of the Greenhouse Tavern on East 4th street with plenty of fun socialization on a beautiful early fall evening.

Also, as a plug, a few of Rachel's wonderful robots (including my CelloBot) are on display as part of the show It's Only A Paper Moon at Proximity Gallery trough October 6.


Lincoln
(Full disclosure: I serve as the chair for Column and Stripe's Philanthropy Committee)

Cleveland Museum of Art: Contemporary and Photography Galleries Open House @ClevelandArt #ColumnAndStripe

Members of Column & Stripe, The New Friends of the Cleveland Museum of Art were invited to join members of the Contemporary Art Society and the Friends of Photography for an open house and reception for the recently reopened Contemporary and Photography galleries and their curators. Since these two are my favorite of the museum's galleries there's no way I'd turn down the invitation.

Before heading up to the galleries we assembled in the Recital Hall on the lower level of the Breuer building for an enlightening introduction.

The Contemporary Art Society introduced new Assistant Curator of Contemporary Art Reto Thuring who illustrated the new arrangement of the contemporary galleries as grounded more in themes and inviting dialogues between pieces rather than the previous, more chronological arrangement. As an aside, the new arrangement of the temporary walls in the galleries leads to a much more open feeling.

Not to be outdone Barbara Tannenbaum introduced the current photography installation DIY: Photographers (through December 20), highlighting digital Print on Demand photo books from a wide swath of photographers, some internationally known professionals and some local high school students. Unlike other areas of the museum where touching art is verboten, this exhibition invites you to pick up and thumb through the 157 photo books that were selected -- from the smallest [I found] being Things Darby Chewed not much larger than a credit card, to the largest, Astronomical a twelve volume set where each page represents one million kilometers in the universe (Yes, there are a lot of black pages).

And perhaps the most exciting news: This coming Tuesday the "Art Detour" from the North Entrance through the museum's basement to the galleries will end as the spectacular Atrium opens to the public for the first time-- I can't wait to see and hear people mingling in Cleveland's new great room.

Lincoln
(Full disclosure: I serve as the chair for Column and Stripe's Philanthropy Committee)

Cleveland Museum of Art: Column and Stripe Speakeasy/Youth and Beauty (@ClevelandArt)



Members enjoying the Column and Stripe Lounge

 Youth and Beauty: Art of The American Twenties On view now through mid-September at the Cleveland  Museum of Art is an exciting survey of the art American artist produced during the 1920s. I'll freely admit that the first half  of  the 1900s  contains many of  my favorites both in classical music and art, so it should  come  as no surprise that I enjoy this exhibition's look at the decade.

Of course, in a decade best known for prohibition and sandwiched between the end of World War I and the beginning  of the Great Depression has some exciting inspiration. The Cleveland  Museum of  Art seized upon the inspiration of the decade to offer an exciting event tonight, the Youth and Beauty Speakeasy. Column and Stripe: The new friends of the Cleveland Museum of Art roared to life with its first official event, the Column and Stripe Lounge.

The event was a clear success had an energy of excitement -- a je ne sais qouis like the first Solstice, and enhanced by the beautiful atrium. Although the population was primarily in the "young professional" bracket, people of all ages could be seen mingling and comfortably enjoying themselves while the exhibition was open for casual perusal, bars were open, and a DJ was spinning tunes, though conversations were a plenty as attendees found old and new friends alike to chat with.  

Though costumes were not required -- or really even advertised as encouraged -- a number of people, including Rachel and yours truly, were decked out in period-appropriate clothing contributing to a special feeling for the event.



Rachel trying her hand at 1920s Tweeting

A major attraction was an appearance by Dr. Sketchy Cleveland (Anti-Art Studio: Where Drinking and Drawing is the Norm) allowing attendees to try their talents sketching models with slightly risque takes on pieces form the exhibitions.

Outside the exhibition in the Key Bank Lobby attendees could experiment with a classic typewriter and paper scroll in "1920s Tweeting"

All-in-all it was a great social event at the museum and it was fantastic to see so many younger Clevelanders enjoying a Friday evening at the Cleveland Museum of Art -- and although the crowd had started to thin slightly as the clock ticked away the evening, there was still a good sized assortment of attendees when the museum closed at 9 PM.



Column and Stripe Members enjoying L'Albatros

But for Column and Stripe members the party didn't end -- The nice folks at L'Albatros hosted us for drinks and a late-night happy hour menu.

As members filtered in we took any available corner of the main bar and outdoor patio bar; as we reached critical mass a lovely back room became our speakeasy and rounded out the evening.

Due to impending travel tomorrow morning I had to excuse myself after finishing off a glass of wine but the event was still going strong.

Join us for the next Column and Stripe event -- for more information see http://www.columnandstripe.org/.

Lincoln

Cleveland Museum of Art: Summer Solstice 2012

The Cleveland Museum of Art's  Summer Solstice is the hottest party of the year. Now in the fouth year it is perhaps the most inclusive as well with people ranging in age from late teens to earily centenarians and clothing ranging from T-shirts and jeans to the height of formal wear.

Unfourtunately, this year didn't have the same level of excitement and verve as the last three, and almost had the freeling that the event had gone coroprate. The first two Solstices were clear celebrations: The first celebrating the opening of the East Wing galleries,  the second celebrating the opening of gelleries in the lower level 1916 Building. The 2011 Solstice didn't have a clear celebratory focus but was nontheless a fun celebration of art with artists performing and working the crowd creating a cool energy, and light food scattered around. I didn't get that fun vibe from tonight's solstice -- the only food was by way of food trucks, I don't recall seeing any artists on the museum's grounds. Nor were there other activities, such as the variations on a "scavenger hunt" theme that provided a interesting way to occupy time for Solstices 2 and 3.

For the first time my expectations were not met, and not met by a large margin. It seems like the singular focus of this solstice was music, and that just doesn't captivate me without some visual connection.

That's not to say that it wasn't enjoyable, it just wasn't as enjoyable as the first three. Rachel and I scoped out the grounds and chateed with coworkers and friends spanning a good 40 years in age. The highlight, for me, of the evening was seeing the atrium now that the "shed" enclosing the escalators in the East Wing and protecting visitors from the atrium construction has been removed, for the first time allowing a view of the full atrium.

The Youth and Beauty exhibition, which officially opens tomorrow and celebrates art of the 1920s was also quite attractive, and a period I particularly like. It was interesting -- if slightly irreverant -- to tour the exhibition with a group of four friends all in varying degrees of "slightly buzed" and attempting to interpert both artists motives and models expressions. I know this is an exhibition that I'll be visiting frequently through it's run.

And of course, tonight's Solstice was the long-awaited official launch of Column and Stripe, the new friends of the Cleveland Museum of Art. At about 11:30 we took over the walls of the 1916 for a short but very cool video piece (I'm told it will be posted on the http://www.columnandstripe.org/ website on Monday

The party contined late into the morning, but with Rachel's feet killing her and mine threatening suicide, after 5 hours we bid adieu to our friends and headed for home.

It seems that Solstice has unfourtunately evolved from a multi-dimensional art-and-museum celebration into an event with a singular focus on music and a side of "see and be seen", which is sad and particularly baffling in the context of the Cleveland Museum of Art. While in previous years the event has tied into the museum's collections and galleries and provided inspiration for the kind of excitement art can foster, this year's Solstice seemingly had no tie-ins whatsoever; it might as well have been at an annonymous fairgrounds; I'm not sure anyone would have noticed the difference. And they probably would have served Red wines.

Lincoln

Announcing Column & Stripe @ClevelandArt (with Solstice Ticket Offer)

One of the few areas where I've felt that the Cleveland Museum of Art was lacking was that there was no organization for young professionals, or rather events didn't seem geared to young professionals needs and scheduling.

I'm happy to report that for the past few months I've been serving on two of the committees (along side a diverse group of other engaged Clevelanders) for what has become Column & Stripe: The New Friends of the Cleveland Museum of Art.

While a lot of specific programming is still being determined, a lot of the possibilities that we're discussing sound really great -- everything behind-the-scenes looks at museum departments [if you know me, you know that's a personal favorite] to walking tours of public art in Cleveland, to social opportunities (with and without curatorial staff).

While social this certainly won't be another happy hour drink-and-hang-out group, and membership will open doors to free and discounted unique programming, in addition to supporting one of Cleveland's cultural gems.

The best part is if you're already a Museum member Column & Stripe is only $50 more for an individual or $75 for two. (If you aren't already a member, the combined Cleveland Museum of Art membership along with Column and Stripe benefits starts at only $100 per year -- that's less than nine bucks a month, and includes unlimited no charge access to the museum's ticketed exhibitions [the permanent collections are always free] as well as access the exclusive Column and Stripe programming we're planning.

And the first 100 people to join Column and Stripe before we officially launch at the museum's Solstice Party on June 30th get a free ticket to Solstice. Already have your Solstice Ticket? Join Column & Stripe at Solstice to save 50% on C&S dues.

For more information see the Column & Stripe page on the Cleveland Museum of Art's website.

Lincoln