Beginning October 18, 2023
​
Public to be given rare opportunity to observe the scientific examination and professional conservation of a major work of art—the first public conservation at the Museum in more than half a century.

For the first time in its 58-year history, the Timken Museum of Art in San Diego's Balboa Park will undertake something truly unique. Its upcoming exhibition, titled 'Boucher: Conservation in a Park,' will be unlike anything many visitors have ever seen before. François Boucher’s painting, Lovers in a Park (1758), which is part of the Timken’s permanent collection and a public favorite, will undergo an interactive and extensive conservation treatment in public view beginning October 18, 2023. This innovative project is a collaboration between the Balboa Art Conservation Center (BACC) and the Timken Museum of Art.

This partnership between the Timken and BACC will allow the two organizations to showcase how a precious masterpiece is restored, and at the same time, demystify the world of art conservation. Following scientific analysis in BACC’s lab, the conservation process will take place in the Timken’s temporary exhibition gallery. The public will be invited to watch and ask questions of the conservators.

François Boucher’s Lovers in a Park was among the very first works acquired after the Timken opened in 1965. At that time, research shows that the Museum administrative staff questioned whether Boucher’s painting might actually be physically too big for the Timken’s intimate and elegant spaces of its Mid-Century Modern building. In retrospect, those staff members may have had a point. Due to the painting’s large size, Lovers in a Park has rarely left the Museum, and for this reason, the painting will be treated in the gallery space.

In subsequent years, the painting’s protective varnish layer has naturally yellowed, and previous selective cleanings have resulted in an uneven impression of the artwork. Although varnish discoloration is common in historic paintings, the Timken is eager to bring one of its most popular paintings in the permanent collection back to its original, brighter appearance. This upcoming conservation process is part of a comprehensive collections care program, a practice undertaken by the great museums around the world to ensure the longevity of their artworks.

“Working with the experienced and knowledgeable staff of professional conservators at BACC, we believe we can significantly improve the appearance of Lovers in a Park," stated Derrick R. Cartwright, PhD, director of curatorial affairs of the Timken. “We also want to use this conservation process as an occasion to study this impressive painting using a variety of imaging technologies that were not widely available in 1965 when the work was purchased by the Putnam Foundation.”

Cartwright continued: “Our goal is to share new knowledge with the public while offering a glimpse into the kind of maintenance which happens behind the scenes and is invisible to our Museum visitors. The Timken is committed to caring for its extraordinary collection. To this end, we’ve commissioned conservation treatments of at least a half-dozen other works in recent years, but not Boucher’s painting, which is a public  favorite. After nearly 60 years, it is time to bring this radiant piece of art back to its original appearance!”

Understanding Conservation
Conservation is an interdisciplinary profession that combines art, history and science to preserve art and cultural materials for the future. The original vision of the artist serves as a guiding principle for each conservation treatment. Many of the Timken’s beloved objects owe their enduring beauty to the talents of conservation professionals. The process includes an examination to understand the materials and techniques used by the artist followed by reversible conservation treatments.

Conservators employ a variety of tools to complete their tasks, including X-radiography and multi-spectral imaging to see through a painting’s layers. These highly trained professionals possess a specialized suite of skills to address technical challenges, be it a painting just in need of minor structural repairs or more intensive rehabilitations. In the case of Boucher’s painting, the museum does not expect major surprises, but one never knows what will be discovered when modern science is applied to a work that is nearly three centuries old.

“Through the work of the Balboa Art Conservation Center, Museum visitors will be able to witness the conservation of François Boucher’s Lovers in a Park and explore our conservators’ process,” stated Alexis Miller, head of paintings conservation at BACC. “The process includes a technical analysis employing X-rays and imaging of the artist’s process and material choices followed by conservation treatment techniques.”

Leticia Gomez Franco, executive director at BACC concluded by saying: “This is such an important moment for the Balboa Art Conservation Center. We have been serving our region as the only nonprofit art conservation organization for nearly five decades. Through this partnership with the Timken, we will finally get to share with the public what usually takes place behind the scenes—and we welcome seeing the Timken visitors.”

​













​François Boucher, Lovers in a Park (1758)
Oil on canvas; Dimension: 91.50 x 76.73 inches (232.4 x 194.9 cm)
Timken Museum of Art, San Diego, California

François Boucher (French, 1703 - 1770) was a renowned painter, draftsman, and etcher. Born in Paris, he earned the prestigious Prix de Rome at age 20 and received his first royal commission in 1735. He gained the favor of Madame de Pompadour, King Louis XV's mistress, becoming her favorite painter and producing remarkable works from 1750 until her passing in 1764. Deeply influenced by the Rococo taste of the French court of King Louis XV, François Boucher channeled his classical ideas into joyous, highly decorative compositions based on mythological or pastoral themes.


Boucher: Conservation in a Park Exhibition Schedule
The Timken Museum of Art is open Wednesday - Sunday from 10am to 5pm. Always Free Admission.
Conservation Hours (Beginning Oct 18, 2023):
Thursdays: 10:00am - 12:00pm and 1:00pm - 3:00pm
Fridays: 12:30pm - 4:30pm
Public is invited to interact with the conservators on Fridays from 1:30pm - 3:30pm.


Monday, October 16, 2023 | 10:00am to 11:30am
Curator Conversation - Derrick Cartwright in Conversation with Alexis Miller, and Bianca Garcia
Join us for an engaging conversation with Timken Director of Curatorial Affairs, Derrick Cartwright, Ph.D. and Balboa Art Conservation Center Painting Conservators Alexis Miller and Bianca Garcia as they discuss the Timken’s extensive onsite public conservation of François Boucher's Lovers in a Park.
Tickets: Free for Members / $15 for Non-Members
Learn More: https://www.timkenmuseum.org/calendar/event/curator-conversation-BACC-2023/


Timken Museum of Art - Balboa Park
1500 El Prado
San Diego, CA 92101
619.239.5548
www.timkenmuseum.org

About the Timken Museum of Art
Founded in 1965, the Timken Museum of Art preserves the Putnam Foundation Collection of European Old Masters, American art and Russian icons for the education and benefit of present and future generations of San Diego residents and visitors. Featuring world-class exhibitions that are open free to the public, the Timken is one of the leading art museums in San Diego. The Timken strives to expand art appreciation by serving the community through year-round tours both in-person and online. The museum exhibits the only Rembrandt on public display in San Diego County - a great attraction for those new to the art world and the art connoisseur.
​
About the Balboa Art Conservation Center (BACC)
For more than 45 years, BACC has been fulfilling its mission as a nonprofit art conservation and cultural preservation organization to provide conservation and preservation services for works of art, cultural objects, and historic artifacts. Its highly trained conservators offer a rigorous and scientific approach to the preservation, examination, and treatment of cultural heritage objects. BACC is committed to benefiting the public good by supporting training and education opportunities and partnering with stewards of community cultural collections. BACC is expanding access to the field of conservation to historically underrepresented communities by growing the existing knowledge base to include culturally conscious and responsive methods of conservation and preservation.

During Summer 2023, BACC Hosted ArtTable Fellow Yaning Xing. Yaning is an MFA candidate at UMass Amherst, working across the mediums of painting, drawing, and installation. In this guest blog, she reflects on her experience and work as an ArtTable Fellow. 
​
The ArtTable National Fellowship program provides quality real work experiences and mentorship to women-identifying and non-binary emerging professionals from backgrounds generally underrepresented in the visual arts. Thanks to ArtTable for the fellowship support; it was a pleasure to have Yaning as part of #TeamBACC. ​

As one of the few nonprofit regional conservation centers in the United States, and the only such center in the western region, the Balboa Art Conservation Center is undergoing transformational change as it shifts into a radically inclusive and accessible art conservation organization. The BACC Board helps nourish this shift while ensuring the organization's vision for inclusion has long-term systemic impact. 

The BACC Board of Trustees is led by Board President Dana Springs and boasts a board membership that is 50% BIPOC (Black, Indigenous, and People of Color). In addition to its racial diversity, BACC board members are located throughout BACC’s service area, including Seattle, the Bay Area, Los Angeles, and San Diego. They bring a range and depth of expertise in community organizing, arts management and advocacy, fundraising, conservation, education, and financial management. Their diverse perspectives and skills are essential as BACC seeks to fulfill its vision for equity and healing within our own structure and workplace, as well as the communities we serve. 

Throughout 2023, we are highlighting each of our Board Members to better understand what excites them about being a part of the BACC Team at this transformative time. 

Kristen Mihalko (she/her) has worked in the nonprofit sector focusing on programming and community building since 2010. As the Director of Operations at the Balboa Park Cultural Partnership, she oversees a number of programs, including the Balboa Park Explorer Pass program, and utilizes her skills in communication, event planning, program development, and IDEA (inclusion, diversity, equity, and accessibility) to increase engagement opportunities that broaden and create an inclusive Balboa Park experience for all. In addition to BACC, she also serves on two museum association boards: California Association of Museums and Western Museums Association and volunteers her time as a Committee Member for Nonprofit Solutions in San Diego.


BACC: How does your professional, community, and/or cultural work inform your role as a BACC Board Member? 
Kristen: I’ve worked in nonprofits my entire career which has allowed me to work with many different communities and cultures. My experience deepened my commitment to creating a world that is more inclusive, equitable, diverse, and accessible for all people. It has also given me the ability to approach topics with curiosity and to think more critically. These skills allow me to better support the many efforts of the BACC team and work alongside my fellow board members to build a board culture that is collaborative, supportive, and community-centered.

B: What excites you most about being on the BACC Board? 
K: I love learning about all the amazing work happening at BACC. Leticia is leading a fantastic team of professionals and I very much appreciate their commitment to creating a more inclusive and equitable conservation field. I look forward to seeing the team grow and the implementation of a fellowship program that provides opportunities for BIPOC communities.

B: If you could have one artwork or artifact (personal or otherwise) conserved by the BACC team, what would it be and why? 
K: This will sound incredibly cheesy but I have an oil painting on wood of my dearly departed cat, Riley. This particular painting is especially important to me because I commissioned it through a friend who specializes in oil painting. I love that not only did I have an opportunity to support my friend but that I have this beautiful portrait of my favorite cat. I miss him all the time but I enjoy passing by his portrait in my hallway every day and being reminded of him. I would love to be able to enjoy this piece for years to come. ​

As one of the few nonprofit regional conservation centers in the United States, and the only such center in the western region, the Balboa Art Conservation Center is undergoing transformational change as it shifts into a radically inclusive and accessible art conservation organization. The BACC Board helps nourish this shift while ensuring the organization's vision for inclusion has long-term systemic impact. 

The BACC Board of Trustees is led by Board President Dana Springs and boasts a board membership that is 50% BIPOC (Black, Indigenous, and People of Color). In addition to its racial diversity, BACC board members are located throughout BACC’s service area, including Seattle, the Bay Area, Los Angeles, and San Diego. They bring a range and depth of expertise in community organizing, arts management and advocacy, fundraising, conservation, education, and financial management. Their diverse perspectives and skills are essential as BACC seeks to fulfill its vision for equity and healing within our own structure and workplace, as well as the communities we serve. 

Throughout 2023, we are highlighting each of our Board Members to better understand what excites them about being a part of the BACC Team at this transformative time. 

Karen Coutts (she/her/hers) is founder of KC Nonprofits, a consulting firm which launched in 2011 and is focused on advancing the needs of nonprofit organizations through strategic planning, fundraising, and high level project management. Karen received her Master’s degree in art history and museum studies from Boston University and worked in museums on the east and west coasts. Over time she gained expertise in various areas including:  philanthropy, strategic planning, board engagement, program development, and leadership. Hallmarks of Karen’s work style include a strong belief in her client’s missions, a personalized approach to help them reach their goals, and a warm smile. She believes every Zoom meeting should include at least one cat, dog, or child. 

BACC: How does your professional, community, and/or cultural work inform your role as a BACC Board Member? 
Karen: I’m proud to work with arts-based clients with  diverse missions including art museums, cultural organizations, and historical societies. Additionally I work with a variety of groups focused on under-resourced communities that serve youth, refugee and immigrant communities. Having experience with these different types of nonprofits helps me to understand the need for more traditional conservation, as well as the importance of expanding  the construct of what conservation might look like to make it more accessible and equitable. 

B: What excites you most about being on the BACC Board? 
K: Having a front row seat to the work the BACC team is doing –it will change the future of conservation, and I couldn’t be more proud or excited to be a part of that. 

B: If you could have one artwork or artifact (personal or otherwise) conserved by the BACC team, what would it be and why? 
K: When I travel I am constantly seeing art and often there are pieces where I think, “This work could use a little TLC from BACC.” Last summer I was in Italy and saw some 13th-century religious icons in dire need of help; I texted the BACC conservators with a picture of one of the paintings. They suggested they hop on a plane to join me so they could get right to work. Sadly, BACC’s nonprofit budget would not accommodate;) 

Right now the piece I’m most interested in seeing is Ernie Silva’s Rain House at The New Children’s Museum. This is an important artwork that has some extra special needs as it was built for kids. Not only does it need to look great, and inviting– it needs to support hundreds of thousands of kids each year climbing on, jumping around, and playing inside it. I had the good fortune of being a staff member at The New Children’s Museum when it opened to the public with this version of the Rain House in 2008 (there was an earlier Rain House from 1993).  Now, I’m back as a consultant for the museum, and I know they have hopes to conserve the Rain House. It’s a vibrant piece which I know will  continue to enchant families for many more years. 
 
Did I interest you in learning more about the Rain House? Visit The Rain House | The New Children's Museum (thinkplaycreate.org) perhaps you’d like to support its preservation with a donation to BACC. 

​

During the 2023 spring semester, BACC collaborated with the Museum Studies Program of San Diego Mesa College to integrate conservation knowledge into their curriculum and highlight the role of art conservation within the larger museum ecosystem. 

The Mesa College project is part of BACC’s larger Workforce Development Initiative. Funded in part by the Conrad Prebys Foundation, the initiative aims to engage students at all educational levels in conservation. This is essential in building a more diverse conservation sector. When considering potential careers, few students know conservation is a career path. This is especially true among communities whose cultural heritage has been underrepresented within cultural institutions and who have been excluded from arts and conservation access. Home to one of the few museum studies programs in Southern California, Mesa College’s student body is 71% BIPOC. The program is led by artist and curator Alessandra Moctezuma. 

The lack of awareness about conservation and preservation among the public parallels the systemic lack of arts education in this country, which predominantly affects schools with a larger percentage of non-white students, low-income, and English learners. This initiative seeks to help address these inequities by working with majority BIPOC schools to expose their students to conservation as a potential career path. The programming is developed by Associate Paintings Conservator and Programs Manager Bianca Garcia, with support from Executive Director Leticia Gomez Franco, Kress Conservation Fellow Annabelle Camp, and former graduate intern and current WUDPAC Fellow, Adriana Benavides. Over the past year, the programming has taken multiple shapes, as we have responded to the needs of our educational partners. 

BACC has partnered with the Mesa College Museum Studies program previously, hosting students on tours in our lab spaces. However, these have been one-time interactions without opportunity for in-depth discussions and hands-on activities. Additionally,  it is essential that program faculty have the materials and knowledge to incorporate conservation education routinely into their curriculum. Following a “train the trainer” model, BACC conservators established a series of conservation education modules that could be integrated into the accepted museum studies coursework. These modules included introduction to conservation, preventive conservation and sustainability, and the ethics of conservation. Each module includes a designated exercise for students and associated resources. 

To test and further develop the curriculum, BACC conservators acted as visiting lecturers in the course, delivering modules on the introduction to conservation and preventive conservation and sustainability. Students were eager to learn about the field and pathways into conservation. As part of the hands-on exercises, they conducted condition assessments of objects from the Mesa College World Cultures collection and learned how to create archival enclosures for works on paper. 

Following the lecture, the class had the opportunity to visit BACC’s lab spaces, see the ongoing treatment of paintings and textiles, and discuss conservation ethics and approaches. By first incorporating conservation knowledge into their course content, students were able to come to the tour prepared with a deeper understanding of the conservators’ work and many critical questions. Professor Alessandra Moctezuma noted that the initial lecture “turned on the students’ critical thinking skills,” ahead of their onsite visit to BACC, demonstrating the importance of multiple interactions with students as they are introduced to this complex and multifaceted field. 

Following this pilot program, Professor Moctezuma is now prepared to integrate an introduction to art conservation into her syllabus, ensuring that generations of Mesa students will be exposed to the field, its value as a career path, and its role in the museum ecosystem.

​