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A Creative Approach to the Preservation of a Landmark Tony

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A Creative Approach to the Preservation of a Landmark Tony Article: Rethinking the monumental: A creative approach to the preservation of a landmark Tony Smith outdoor sculpture Author(s): John Steele and Abigail Mack Source: Objects Specialty Group Postprints, Volume Twenty, 2013 Pages: 49-82 Editors: Lara Kaplan, Kari Dodson, and Emily Hamilton ISSN (print version): 2169-379X ISSN (online version): 2169-1290 © 2015 by The American Institute for Conservation of Historic & Artistic Works, 1156 15th Street NW, Suite 320, Washington, DC 20005. (202) 452-9545. www.conservation-us.org Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation of Historic & Artistic Works (AIC). It is a conference proceedings volume consisting of papers presented in the OSG sessions at AIC Annual Meetings and is intended to inform and educate conservation-related disciplines. Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the AIC. This article is published in Objects Specialty Group Postprints, Volume Twenty, 2013. It has been edited for clarity and content but has not undergone a formal process of peer review. Responsibility for the methods and materials described herein rests solely with the author(s), whose article should not be considered an official statement of the OSG or the AIC. RETHINKING THE MONUMENTAL: A CREATIVE APPROACH TO THE PRESERVATION OF A LANDMARK TONY SMITH OUTDOOR SCULPTURE JOHN STEELE AND ABIGAIL MACK ABSTRACT Th is paper describes the collaborative planning process for the treatment of Tony Smith’s Gracehoper, a monumental painted steel outdoor sculpture at the Detroit Institute of Arts. Gracehoper created a particular challenge for conservators because of its large size, the strict aesthetic parameters for the surface appearance, and ongoing changes in the coatings industry in regard to coating availability and expertise required for application. Th e physical and aesthetic criteria that shaped the treatment plan for this remarkably complicated treatment will be examined, as well as the shared decision-making process that involved a host of stakeholders, including conservators, a curator, the artist’s estate, a coating specialist, private funders, and the public. Although initial eff orts focused on a quest for the perfect paint, it was only when all the components of the project— including size, accessibility, paint technology, surface aesthetics, and cost—were evaluated and weighed that a clear path for a successful treatment and an eff ective plan was formulated. Project delays allowed the conservators time to reexamine an initial proposal to repaint the sculpture by spray application of a high-performance paint, on-site, with the necessary containment structure. Since the enormous tent needed for containment proved prohibitively expensive and an acceptable surface would be diffi cult to achieve outdoors, the conservators reconsidered their plan. In the 1970s, the artist/fabricator team had installed and coated the sculpture on-site with roller-applied industrial paints to the artist’s satisfaction. Th rough consultation with the Tony Smith Estate, paint specialists, and a review of museum documentation, the conservators and curator explored replicating the artist’s original application methods while using today’s high-performance exterior coatings. Th e potential benefi ts were many, including easier application, easier local treatment of damaged surfaces in the future, and lower costs. Careful and cooperative consideration of all the variables aff ecting the treatment led the project team to explore a variety of options. Together, they successfully developed a plan for treatment that is cost-eff ective, durable, and honors the artist’s original aesthetic requirements. 1. INTRODUCTION Gracehoper, Tony Smith’s monumental painted steel sculpture, sits on the north lawn of the Detroit Institute of Arts (DIA) and is the largest of Smith’s sculptures to be fabricated during his lifetime. It stands 22.5 ft. high, 46 ft. long, and 23 ft. wide, and weighs 27 tons with over 3800 square ft. of surface (fi g.1). Th e sculpture was fabricated by Industrial Welding Company of Newark, New Jersey, in 1972 in six large sections out of ¼-in. steel plate welded to a steel armature and then trucked to Detroit and installed in the presence of Tony Smith (fi g. 2). Smith designed the cardboard maquette for the sculpture in 1961 (fi g. 3). Th e funnel-like form of the main body reminded him of the hoppers used to load coal onto railroad cars (Smith et al. 2007, 36), and led him to name it Gracehoper, after the mythical beast representing change, progress, and dynamism in James Joyce’s novel Finnegan’s Wake (Joyce 1939, 416). By the time it was assessed for treatment in 2010, it had been 38 years since Gracehoper was installed and 21 years since the last topcoat of paint was applied. Th e painted exterior had long ceased to represent the uniform, monolithic “dull semi-gloss” black surface specifi ed by Smith (Auld 2001). Th e surface of the sculpture badly needed treatment to restore its appearance and ensure its preservation for another generation. Th e fi rst part of this paper focuses on treatment strategy and the decision-making process that led to a satisfactory treatment plan. Decisions were overwhelmingly infl uenced by the monumental size of the sculpture, yet also took into consideration condition, Smith’s aesthetics, and current coatings AIC Objects Specialty Group Postprints, Vol. 20, 2013 49 50 Fig. 1. Gracehoper, Tony Smith, conceived 1961, fabricated and installed in 1972, painted steel plate on steel armature, 7.32 3 14.02 3 7.32 m, DIA, 72.436, before treatment in 2010 (Courtesy of Detroit Institute of Arts) Fig. 2. Gracehoper installation, 1972 (Courtesy of Detroit Institute of Arts) Steele, Mack AIC Objects Specialty Group Postprints, Vol. 20, 2013 51 Fig. 3. Tony Smith standing behind the painted cardboard maquette of Gracehoper during the installation of the full-scale sculpture at the DIA, 1972 (Courtesy of Detroit Institute of Arts) technology. Th ese factors led to choosing to treat Gracehoper on-site, and to repaint the surface using a roller-applied high-performance paint—an adaptation not specifi ed by the coatings vendor. Th e second part of the paper provides a summary of the 2013 treatment as well as observations and commentary on how the plan worked out in practice. 2. STAKEHOLDERS AND THE FINANCIAL CLIMATE Given the scale and signifi cance of the sculpture, it was clear that this was going to be a challenging, expensive, and high-profi le project. Th e outcome would have to satisfy a number of stakeholders, including the DIA as the owner/caretaker, the Tony Smith Estate as protectors of the artist’s aesthetic intent, the fi nancial supporters of the project, and the public as vocal tax supporters of the museum. In 2011, a project team was formed consisting of John Steele, DIA Conservator of Sculpture and Decorative Arts; Rebecca Hart, DIA Associate Curator of Contemporary Art; Abigail Mack, Object Conservator of Abigail Mack Art Conservation LLC and specialist in the treatment of modern outdoor sculpture; James Sejd, President of the industrial painting company ASCo; and Sarah Auld, Director of the Tony Smith Estate. Representing the major stakeholders in the project, each team member brought his or her professional expertise to the collaborative decision-making process. Treatments of this scale are expensive. Costs can range from $200,000 to $700,000 depending on the specifi c condition issues and the logistics involved. Painting is just one part of the greater project Steele, Mack AIC Objects Specialty Group Postprints, Vol. 20, 2013 52 budget. Th ere are front-end costs for treatment research and development, and, if the treatment is done on-site, costs for containment, equipment rental, and landscaping; or, if done off -site, costs for rigging, transportation, and facility usage. Th e money required to pay for Gracehoper’s treatment was raised exclusively through grants and private donations rather than coming from the DIA’s general operating budget. While a crucial regional tax vote to support the museum’s operating costs for the next decade took place during the planning phase of the project, it was deemed both politically and fi nancially wise to avoid using any funds from the operating budget to pay for such a large project. Th ough the fundraising eff ort was diffi cult and time-consuming, raising the money privately had the advantage of generating a much greater sense of community interest and ownership in the project. 3. TREATMENT APPROACH To tackle an object of this scale in a fi nancially challenged climate, the team would have to be sensitive to cost as well as to conservation considerations. Th e development of a treatment strategy was not only important for planning but also prudent with all of the stakeholders looking expectantly over the team’s shoulder. Th e development of the strategy began with two key logistical questions: • Can the sculpture be treated eff ectively on-site or does it need to be disassembled and treated in an off -site facility? • What paint best matches Tony Smith’s aesthetics and best meets the team’s requirements for durability, application, maintenance, and availability? Th e team identifi ed four major factors that infl uenced the answers to these questions: the condition of the sculpture, its monumental size, Tony Smith’s aesthetic choice for Gracehoper’s appearance, and current coatings technology to help achieve and preserve the correct appearance. 4. FACTORS INFLUENCING THE DECISION TO TREAT THE SCULPTURE ON OR OFFSITE 4.1 CONSERVATION AND STRUCTURAL STABILITY ASSESSMENTS At the time of the conservation and structural stability assessments, the sculpture had been exposed to the elements for 38 years and had been repainted twice since it was installed.
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