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DONALD JUDD Ilya Kabakov

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DONALD JUDD Ilya Kabakov used to execute cleaning treatments carios. En vista de que Chinati posee no and tests – most recently the study of sólo una amplia colección de arte, sino the proper care and cleaning of un- que también mantiene un número con- treated plywood and wood surfaces siderable de edificios históricos, las Message that Ms. Esmay conducted in collab- evaluaciones requerían asimismo la oration with Roger Griffith, Associ- pericia de un conservador arquitec- from the ate Conservator at the Museum of tónico. Me complace informarle que el Modern Art, New York. A report on museo se benefició grandemente de las Director their research and preliminary find- colaboraciones de Andrew Lins, del ings begins on page 17. I hardly Museo de Arte de Filadelfia, quien re- need to express how grateful we are visó las áreas de exhibición y almace- In previous years, we’ve used the for this collaboration, the first of its namiento de Chinati, y de John Volz, de annual newsletter to explore specific Un mensaje kind for Chinati. I would especially Austin, quien llevó a cabo la evalu- themes that are at the center of our like to thank James Coddington, the ación de los edificios. Ambos pasaron activities, such as the magnificent Agnes Gund Chief Conservator at varios días en Marfa haciendo un new installation by Dan Flavin two de la MoMA, for his support of this en- valioso aporte a través de sus conver- years ago, or the planned project deavor. saciones con miembros de nuestro per- with Robert Irwin described in last In addition to the initial conservation sonal. Sus detallados informes forman year’s issue. More recently, Chinati directora measures Ms. Esmay implemented el punto de partida para la planeación has been focusing on conservation during the past twelve months, such a corto y largo plazo en lo que respecta measures and the establishment of a la conservación de nuestras obras de . K arte y nuestra arquitectura. Agradece- conservation program. We hired a R A L full-time conservator last year in or- C mos de corazón la generosidad de la . der to address the daily as well as H Fundación Brown y la Houston Endow- S E M . the long-term professional care of L ment, cuyo apoyo económico hace A I J A . T S Chinati’s permanent collection. E posibles estas iniciativas. R D M , Francesca Esmay, who received her 8 Durante la primera fase del proyecto & 1 . 9 R graduate degree from Columbia 1 renovamos y habilitamos una extensa , M Y F T R University and brought experience O área donde se construirá nuestro E R V O from working at the Metropolitan O primer estudio de conservación. En es- P N L O A ta área se realizan tratamientos y Museum of Art and the Museum of H R U N I Modern Art, New York, began her R pruebas de limpieza–la última de las D N N O tenure at Chinati by conducting a U cuales versaba sobre la manera más F S E E E U adecuada de limpiar el triplay y otras Conservation Assessment funded by T T G I A M a grant from the Institute of Museum E superficies de madera y fue realizada L M O and Library Services. As Chinati not M por la Srta. Esmay con la colaboración C U E F S O de Roger Griffith, Conservador Adjunto only holds an extensive art collec- U S M S T tion but also maintains a large num- E del Museo de Arte Moderno en Nueva R R A G , N York. Una descripción de sus investiga- ber of historic buildings, the neces- T R O A sary assessments required the C ciones comienza en la página 17. Evi- F , H O C additional outside expertise of both I dentemente, estamos muy agradecidos M V U E E L an art as well as architectural con- S por esta colaboración, la primera de su A U M M servator. I am pleased to report that R especie en la Fundación Chinati. Mi I S M A I L L the museum greatly benefited from Z agradecimiento especial a James Cod- A A K collaborations with Andrew Lins, D dington, Conservador en Jefe del Chair of the Conservation Depart- En años anteriores hemos usado el bo- as gathering and studying light, hu- MoMA, por su apoyo en esta empresa. ment at the Philadelphia Museum of letín anual para explorar temas especí- midity, and temperature readings, Además de las primeras medidas de Art, who reviewed Chinati’s exhibi- ficos que están al centro de nuestras as well as implementing ongoing conservación que ha realizado durante tion and storage areas, and Archi- actividades, tales como la nueva y cleaning measures of the works on los últimos doce meses, tales como la tectural Conservator John Volz of magnífica instalación de Dan Flavin, permanent display, she began a recolección y estudio de la luz, la Austin, who conducted the building hace dos años, o el proyecto de Robert comprehensive cleaning and preser- humedad y las lecturas de temperatu- assessment. Both conservators spent Irwin descrito en el número del año vation treatment of Ilya Kabakov’s ra, junto con la limpieza continua de several days in Marfa – an impor- pasado. Ultimamente, Chinati se ha installation, School No. 6. The work las obras en exhibición permanente, la tant time that allowed for informa- preocupado por las medidas de conser- occupies an entire U-shaped bar- Srta. Esmay ha emprendido una ex- tive conversations with members of vación y el establecimiento de un pro- racks building, surrounding a cen- haustiva limpieza y conservación de la the staff. Their exhaustive reports grama de conservación. Hemos con- tral courtyard. It was conceived as a instalación de Ilya Kabakov, Escuela now form the basis for Chinati’s im- tratado una conservadora de tiempo dilapidated schoolhouse – aban- No. 6. La obra ocupa ocupa todo un mediate and long-term planning for completo para ocuparse del cuidado doned and forgotten. This particular cuartel general, un edificio en forma de the conservation and preservation of diario y a largo plazo de nuestra colec- state presents a specific challenge U que encierra un patio central. Se con- the collection and architecture. We ción permanente. Francesca Esmay ob- regarding restoration and conserva- cibió como una escuela destartalada, are deeply grateful to the Brown tuvo un posgrado de la Universidad tion, as it is often difficult to differen- abandonada y olvidada. La condición Foundation and the Houston Endow- Columbia y tiene experiencia trabajan- tiate between the visual representa- de la obra ofrece un reto para el con- ment, whose generous grants make do en el Museo de Arte Metropolitano y tion of something dilapidated and servador y restaurador, ya que resulta these efforts possible. el Museo de Arte Moderno en Nueva something that is intended to be pre- difícil diferenciar entre la repre- During the first phase of the project, York. Dio inicio a su labor en Chinati served in that state permanently. sentación intencional de los objetos de- we renovated and equipped a large llevando a cabo una Evaluación de la Only the artist can draw this line, teriorados y el intento de conservarlos space to house Chinati’s first conser- Conservación financiada por el Institu- and we’ve worked closely with permanentemente en ese estado. Sólo vation studio. This new work area is to de Servicios Museológicos y Bibliote- Kabakov to address ways in which el artista puede hacer esta discrimi- 2 the building and its contents can be nación, y hemos trabajado de cerca secured. This process will soon be con Kabakov para lograr dicho objeti- Contents Contenido completed, at which time we will vo. El proceso pronto finalizará, y en- record a conversation with Kabakov tonces grabaremos una conversación that will serve as the basis for our con Kabakov que servirá de base para 2 Message from the Director approach to the future conservation nuestro trabajo de conservación y Un mensaje de la directora and maintenance of his work. mantenimiento de su obra en el futuro. MARIANNE STOCKEBRAND This year’s temporary exhibitions Las exhibiciones temporales de este feature illustrated books from two año presentan libros ilustrados de dos 4 Malevich: Independent Form, Color, Surface generations of Russian artists – Kaz- generaciones de artistas rusos – Kaz- Malevich: La independencia de la forma, el color y la superficie imir Malevich and his peers, and imir Malevich y sus camaradas e Ilya DONALD JUDD Ilya Kabakov. Prints and Printed Kabakov. Nuestra exhibición Graba- Matter by Kazimir Malevich and dos e impresos de Kazimir Malevich y 10 Russian Art in Regard to Myself Other Artists from the Russian Avant- otros artistas de la vanguardia rusa es El arte ruso y yo Garde became possible thanks to posible gracias al apoyo del Museo de DONALD JUDD the support of the Dallas Museum of Arte de Dallas, y específicamente de su Art, specifically its director Jack director, Jack Lane, y su curadora de 12 Donald Judd: The Early Work 1955–1968 Lane and senior curator of painting pintura y escultura, Dorothy Kosinski, Donald Judd: Sus primeras obras 1955–1968 and sculpture, Dorothy Kosinsky, as al igual que el Museo Stedelijk de Ams- CARINA PLATH well as the Stedelijk Museum, Ams- terdam y su director Rudi Fuchs. La terdam and its director Rudi Fuchs. presencia de estas obras en Chinati re- 17 Untreated Plywood Conservation The presence of these works at Chi- fleja el interés que sentía Donald Judd La conservación del triplay sin tratar nati reflects Donald Judd’s interest in por Malevich y el arte ruso de van- FRANCESCA ESMAY AND ROGER GRIFFITH Malevich and the Russian avant- guardia.
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