Conservation, in general terms, is concerned with the long term care of works of art and encompasses both the proactive practices and procedures required to preserve them and their restoration.
At the Nasher Sculpture Center we are primarily concerned with sculpture and three-dimensional objects. This subspecialty within the field of conservation demands a broad knowledge of sculpture materials and fabrication techniques, both historic and contemporary. The conservation of modern and contemporary sculpture also relies heavily on living artists and artists’ foundations for guidance in the development of maintenance programs and treatment plans. The involvement of artists in the long term care of their work is an exciting and integral part of the field.
In addition to being one of the most significant collections of modern and contemporary sculpture in the world, the Raymond and Patsy Nasher Collection presents a virtual catalogue of sculpture making techniques and consequently a rich source of conservation issues and challenges. The breadth of materials represented in the collection – everything from bronze, stone, steel and concrete to resin, wax and Plexiglas – requires an varied and flexible array of treatment and maintenance programs, as does the wide range of monumental outdoor and smaller indoor works. The display environment is a particularly important factor to consider in the conservation of outdoor sculpture.
From Alberto Giacometti’s delicate, 2”-tall, gilded bronze Two Figurines to Richard Serra’s 100,000lb My Curves Are Not Mad, composed of two 2” thick cold rolled steel plates, the Nasher Collection is a virtual laboratory for the study of sculpture conservation. What’s more, questions of materiality and construction are not just unavoidable in dealing with sculpture, they are central to an understanding of the art form. For these reasons alone it is easy to appreciate why conservation and the long-term development of a regional center and an important resource for sculpture conservation are central to the Nasher’s vision for the Sculpture Center.