 By: Taryn Nurse, Summer 2024 Graduate Intern, WUDPAC Class of 2026
As a graduate intern from the Winterthur/University of Delaware Program in Art Conservation (WUDPAC), I embarked on my first year Summer Work Project with BACC with the goal of widening my understanding of treatment and care in a real-world setting. I was absolutely thrilled to be gaining experience in a regional center, and it was such a treat to work under so many WUDPAC alumni! As a rising paintings’ major, my summer was tailored to broadening my working knowledge of paintings and painted surfaces. My traditional easel paintings projects all involved various cleaning and varnish removal treatments which not only introduced me to multiple new approaches but also helped build my confidence on the decision-making aspect of choosing an appropriate cleaning approach. I credit this new skillset to having the opportunity to revamp BACC’s Modular Cleaning Program as well as through working hands-on with a variety of media including oil, acrylic, PVC and even black gesso. I also had the opportunity to develop my inpainting skills through projects with both the paintings and objects departments of BACC. I picked up many new tips and tricks for working with dry pigments and adjusting the sheen of acrylics with glass platelets. Some of my projects also introduced me to more technical treatments like humidification, thread by thread tear mending with a variety of adhesives, corner consolidation of works on canvas board and mending losses with inserts for works on canvas. These are skills that I will no doubt be calling on for the rest of my career. My major project involved a technical study on a polychrome sculpture of St. Joseph which came to BACC from the Mission San Louis Rey. This project turned out to be a dynamic learning experience involving both research and hands on-treatment components. I was able to perform many technical analyses on the sculpture including X-Ray fluorescence Spectroscopy, X-radiography, microscopic fiber identification, and cross section analyses to learn more about the object’s construction and history. Working with the sculpture introduced me to multiple techniques for paint consolidation and I had the opportunity to work with several materials and techniques. Some of these included direct Aquazol injection, gelatin consolidation through tissue, heat setting through mylar and creating gelatin fills. My time at BACC was not limited to bench work, however. Through attending meetings and spending dedicated time with BACC’s Conservation Services Manager, I was able to build my understanding of the inner workings of a regional center from a business standpoint. Some of my projects also involved direct communication with curators and artists which further added to my understanding of the working relationship between conservators and the people we serve and how this affects our approaches to treatment and writing treatment proposals. In the span of 8-weeks, I can confidently say that I built many new skills under the conservators at BACC. And of course, San Diego was an adventure in itself! My summer allowed time to visit sea caves, get a tin-type portrait in Old Town, try many churros and so much more! Thank you BACC for a dynamic summer! San Diego Students Are Learning About Art Conservation Thanks to Local and National Philanthropy8/16/2024
 BACC conservators work with students at Hoover High School to clean a statue by Donal Hord in the school library. The Balboa Art Conservation Center (BACC) is gaining significant support for its Art Conservation Train-the-Trainer Program for educators. San Diego-based Price Philanthropies has awarded the nonprofit conservation center $25,000 to support the program, now in its second year. This comes on the heels of a $16,000 grant from Washington DC-based Foundation for Advancement in Conservation (FAIC).
The Art Conservation Train-the-Trainer Program is part of BACC’s larger workforce development initiative, which is committed to building awareness among educators and students about conservation and its role in the larger arts ecosystem. By increasing knowledge of and access to preservation knowledge, BACC hopes to introduce a broader audience to the field and ultimately foster a more diverse conservation workforce. Building on Previous Successes The program was successfully piloted during the 2022-2023 academic year. With funding from the Prebys Foundation, BACC partnered with three schools in San Diego to introduce students of varying ages to conservation principles. BACC conservators partnered with Hoover High School’s Sustainable Academy of Building and Engineering to work with students directly in the research and conservation of a Works Progress Administration (WPA)-era sculpture located in the school’s library (read more here). In partnership with Freese Elementary, BACC engaged with teachers in a train-the-trainer model, teaching them conservation and preservation principles and collaborating to integrate these concepts into their curricula. The third partnership, with Mesa Community College Museum Studies Program, was a hybrid in which BACC conservators worked with professors to develop curricula but also taught students directly (read more here). All three of these projects were highly successful, and BACC received the Creative Leadership Award from the San Diego Unified School District Visual and Performing Arts Department for the collaborations with Freese and Hoover High. Now in its second year and building on the success of training teachers BACC will expand the train-the-trainer model and develop and formalize curricula in conservation and preservation education for elementary and highschool classrooms in collaboration with teachers from Freese Elementary, High Tech High, and Hoover High. Participating educators will attend a conservation “bootcamp,”and be introduced to the field of conservation and preservation and collectively explore best ways to integrate cultural heritage preservation concepts into their curricula throughout the school year. During the academic year, students will have the opportunity to visit and tour BACC’s laboratories and put their new knowledge to use. BACC Executive Director Leticia Gomez Franco summarizes the urgent need for this programming, “It is critical that our region's youth understand the power they have to ensure the survival of our unique cultural heritage. From family heirlooms to public art sculptures, the culture that surrounds us will be safeguarded by the next generation. This program is inviting our youth to learn about the technical practice of art conservation and the fascinating intersection of art, history, and science through our most capable partners- teachers! This investment by Price Philanthropies and FAIC is an investment in preparing the future to safeguard our past.” About Balboa Art Conservation Center The Balboa Art Conservation Center (BACC) provides art conservation and cultural preservation services for cultural institutions and the general public. The San Diego-based nonprofit is one of only eight regional nonprofit art conservation organizations in the country and the only one in the western region. Founded in 1975, BACC provides art conservation and cultural preservation services to cultural institutions and the general public, focusing on the care of works of art, cultural objects, and historic artifacts, technical imaging, and analysis while also providing educational opportunities for emerging conservators. Learn more at bacc.org. About Price Philanthropies The Price Philanthropies Foundation is a private family foundation working to improve life opportunities for underserved youth and families, and their communities. It was founded by retail entrepreneur and philanthropist Sol Price and his wife Helen and led today by Sol and Helen Price’s son and daughter in law, Robert and Allison Price. About FAIC The Foundation for Advancement in Conservation (FAIC) supports conservation education, research, and outreach activities that increase understanding of our global cultural heritage. Our mission is to save cultural heritage for future generations, protecting it from decay and destruction. We advance research and education, lead treatment and collection care initiatives, and deploy conservation expertise to where it is most urgently needed. Our work empowers conservation professionals, strengthens cultural institutions, and engages diverse audiences as we work together to protect cultural heritage for humanity. Learn more at culturalheritage.org and follow FAIC on Twitter, Instagram, YouTube, and Facebook.  Crystal is tracing cracks from the front of a painting onto transparent Mylar to guide adhesive application from the back. By Crystal Choi, BACC Preprogram Intern, Summer 2024
Embarking on my journey at the Balboa Art Conservation Center (BACC) has been an enriching experience that has significantly broadened my understanding of conservation. From engaging in various conservation practices to working on specific projects, my time at BACC has been a blend of learning, discovery, and hands-on practice. During my internship, I was introduced to different facets of conservation including preventive conservation, painting conservation, and object conservation. Each area presented unique challenges and learning opportunities. This included learning how to fill and in-paint a painted surface, the different techniques used to observe what materials an object is made of, and various efforts one can use to prevent further damage from happening to an artwork. Being able to work and learn from such a diverse range of practices helped me gain insight into the various roles involved in conservation. There have been several valuable experiences that I’ve gained during my time at BACC, including the opportunity to engage in hands-on conservation work as well as learning how to develop artwork documentation reports. In terms of the former, I’ve had the opportunity to work on specific paintings/projects where I got to practice filling in a loss to a painting or learn how to consolidate a crack. These hands-on activities have honed my skills and deepened my appreciation for the meticulous work involved in conservation. In terms of the latter, I’ve learned how to write technical and condition reports on the artworks/projects I treated and how to use different imaging and analytical techniques (i.e., XRF, IRR, etc.) to gain more information on the artworks. This process has allowed me to not only further hone my skills in documentation writing but also know how to use the different technologies involved in materials analysis. In addition to my work in the lab, I’ve also had the opportunity to engage in some on-site condition checks. I had the opportunity to go on-site with Associate Conservator of Paintings, Morgan Wylder, and observe her process checking the different conditions of the artworks at the San Diego Contemporary Museum of Art and what materials she used to test them. This experience allowed me to gain a new perspective on the other aspects of an art conservator’s daily work and see how much adaptability is needed when observing an art piece outside of the lab environment. Two main projects that I’ve worked on during my time at BACC include writing reports on the Lismore Castle Painting by Mary H. Shumway and assisting in the treatment of an oil painting depicting an interior scene. The Castle Painting project has been instrumental in teaching me the technical aspects of conservation reporting. Through this project, I’ve learned how to use advanced laboratory equipment like X-ray fluorescence spectroscopy to help identify the elements present in the pigments of the painting. Using this nondestructive technique, I was able to detect certain 19th-century pigments (i.e., zinc, chromium, and barium) which helped confirm the period in which the painting was made. I was also able to use infrared reflectography (IRR) to examine the underdrawings of this painting. I discovered that Castle Painting has an underdrawing made out of compact charcoal. These techniques have enhanced my ability to analyze and document artworks in detail, ensuring accurate and comprehensive reports. In contrast, the project involving the interior scene has focused on the hands-on conservation process. For this piece, I’ve been actively involved in consolidating flaking paint and performing in-filling and in-painting to restore areas of loss. I also learned how to stabilize different stress cracks and cleavage within the painting using fish gel and humidification. This project has allowed me to apply the technical knowledge I’ve gained and see the tangible results of my efforts in preserving an artwork. The combination of these two projects has provided a well-rounded understanding of both the preparatory and practical aspects of conservation. In conclusion, my time at the BACC has been an incredible journey of learning and professional growth so far. The diverse experiences and projects have equipped me with a comprehensive understanding of art conservation. From mastering technical skills to writing detailed reports and observing on-site checks, every aspect of my experience has contributed to my development as an upcoming conservator. I am grateful for the opportunity to work with such a knowledgeable team and look forward to applying what I’ve learned to future conservation endeavors. As conservators, we are tasked with the responsibility of preserving and restoring artworks. One of the remarkable tools in our arsenal to help with the study and conservation of art is infrared reflectography (IRR) imaging, a technique that allows us to peer beneath the surface of paintings, revealing hidden sketches, alterations, and restoration interventions that are invisible to the naked eye. While IRR imaging is commonly used to study the artistic process, detect small changes made by artists during the creation of their works, or look for carbon-containing underdrawings, grid systems or pouncing patterns, it can occasionally lead to even bigger discoveries. Such was the case with a recent project BACC embarked upon, where a routine technical examination of a dark landscape painting attributed by its owner to acclaimed 18th-century English portraitist Thomas Gainsborough, led to an unexpected revelation.  Landscape painting attributed to Thomas Gainsborough, after conservation treatment While the painting appears to the naked eye to be a landscape, infrared examination enabled BACC Paintings Conservators Morgan Wylder and Alexis Miller to look beneath the layers of pigment and varnish. When they did, an extraordinarily intact portrait emerged—a man adorned in a grand wig, his features easily distinguishable even through the paint layers of the landscape. It had been concealed from view for perhaps centuries. This unexpected discovery ignited a flurry of excitement and intrigue among our team, prompting further questions about the identity of the mysterious figure lurking beneath the surface. The portrait offered a glimpse into the past, inviting us to contemplate the life and identity of the individual captured by the artist's hand. Was he a nobleman, a scholar, or perhaps a forgotten figure from history?  When examined using infrared reflectography, a portrait was revealed beneath the landscape. The painting’s owner, Mr. Sergio Arenas shared the conservators’ excitement. “What a delightful surprise to discover that there is a portrait underneath a landscape. I don’t think that anyone had any idea until modern science uncovered this remarkable discovery,” he stated. He is likely correct that without this advanced imaging technique, no one—other than the artist—would have ever realized this portrait lay hidden beneath the landscape. It is just one of many examples of infrared reflectography unveiling hidden truths that have been concealed beneath layers of paint—sometimes for centuries.
This discovery prompted additional research, primarily into the work of Thomas Gainsborough, who the painting is attributed to. British art historian and authority on Gainsborough, Hugh Belsey, helped to identify an inscription on the back of the piece that suggests the work was owned by Scottish artist and collector/dealer James Orrock (1829-1913), who is known to have collected works by the renowned artist. Examples of Gainsborough painting over earlier works with later compositions can be found in numerous collections, including the National Gallery of Art London and the Hammer Museum. While BACC’s analysis cannot confirm that this work is by Gainsborough, the discovery made through infrared reflectography has revealed crucial information about the painting’s history. About Infrared Reflectography First used in the 1940s for the technical imaging of art, infrared reflectography has proven invaluable in examining the underdrawings, pentimenti, and alterations made by painters throughout history. By utilizing infrared light, a longer wavelength of light than visible light that penetrates the upper layers of paint, conservators can unveil hidden details without causing any damage to the artwork. Infrared reflectography operates on the principle that different materials react differently to infrared light. When infrared light is directed onto a painting, it penetrates through the upper layers of paint but is absorbed and reflected differently by various materials beneath the surface. Carbon-containing materials, such as charcoal or graphite used in underdrawings, absorb infrared light, appearing dark in the resulting image. Conversely, pigments containing metals, such as lead white or vermilion, reflect infrared light, appearing light in the image. This stark contrast allows conservators to discern the hidden images within a painting. BACC's IRR camera was purchased with the support of the San Diego County Board of Supervisors. Technical Analysis at Balboa Art Conservation Center Balboa Art Conservation Center is the only publicly accessible resource for the technical examination of art and artifacts in the western region. BACC offers nondestructive analyses, including X-radiography, infrared reflectography, X-ray fluorescence spectroscopy, and ultraviolet-illumination, as well as polarized light microscopy for fiber and pigment analysis. All these examination techniques are essential in understanding an object’s structure, composition, and history. If you are interested in scheduling the examination of a work in your collection, contact us today.  Elizabeth Salmon joined #TeamBACC in late 2023 as the organization's inaugural preventive conservator. Since this is a new specialty area for BACC, we sat down with Elizabeth to get her insight on what preventive conservation entails and how it can benefit all collection types. BACC: How do you define preventive conservation? Elizabeth: The goal of Preventive Conservation is to slow the natural rate of deterioration and keep art and cultural materials in their present condition for as long as possible. Rather than looking at singular objects, Preventive Conservation looks at the museum environment as a whole to anticipate agents of deterioration and strategize how to reduce or eliminate them. It takes a lot of knowledge about materials and how they age but also requires us to understand environmental factors, pollutants, pests, and how to prepare for natural disasters. Preventive Conservation is a more cost-effective and ethical way to preserve cultural heritage - since you’re limiting damage and degradation, you’re reducing the need for changes or repairs in the future! B: What was your pathway to preventive conservation? E: When I first started working in museums it became clear to me pretty quickly that Preventive Conservation is a much more accessible route to preserve cultural heritage. There are so many factors that influence where resources are directed for conservation treatment, and relying on interventive treatment alone doesn’t necessarily mean that diverse cultural heritage is preserved equitably. Early in my career, I trained at a museum in India that uses leaves that naturally repel insects to protect their collections from insect damage. Since the leaves are collected locally from abundant trees, it’s a very cost-effective and environmentally sustainable way to preserve collections. Seeing this made me excited to research more sustainable ways to preserve cultural heritage that are equitable and accessible to a broader range of cultural institutions and that became the inspiration for my PhD research. Since then, I’ve made it a point to continue my training at museums large and small and have seen that there are always passive ways to better preserve the collection. To me, the most sustainable and equitable options for preserving more cultural heritage well into the future all fall under Preventive Conservation, so focusing there was a clear cut decision for me. B: What are some of the biggest preventive conservation challenges in the western region? E: When I consult with collections stewards, I always stress that there are certain factors related to the preservation of your art and cultural items that matter every single day. These include moderating the environment (i.e. reducing fluctuations in temperature and humidity), regular housekeeping, and monitoring for pests. That doesn’t necessarily mean that you need to be actively working on negating these factors everyday, but you can and should have plans in place to make sure that there are no days where they are forgotten or ignored. For example, you can always collect environmental data, have a regular cleaning schedule for your space, and passively monitor for pests. These factors are all interrelated, and forgetting to maintain one can put you in an uphill battle in the other areas. That said, there are also challenges unique to the western region, such as earthquakes, wildfires, and (increasingly) flooding. It can be extremely overwhelming to consider all of the potential threats to your art and cultural collections - I am here to help direct your efforts to areas where small improvements can make a big difference in the future of your collection. That includes working with you to focus collections care efforts in a way that is manageable and sustainable for you or your institution. B: How can BACC members and clients benefit from your skills? E: My goal in Preventive Conservation is to meet institutions where they are and work with them to make the most of their time and resources when it comes to preserving their collections. I’ve trained at museums large and small with varying degrees of available resources, so I have lots of ideas about how to work with individuals and collecting institutions in their space to develop a collections care plan that works for them. I can advise on improving storage spaces on a budget, thinking through potential hazards when exhibition planning, and work with you to develop an emergency preparedness or integrated pest management plan. I also specialize in all of the not-so-fun aspects of stewarding art and cultural collections, like addressing pest issues and mold mitigation. My hope is to help you avoid it so you never have to see it! B: What excites you most about being part of Team BACC? E: My approach to conservation has always been rooted in the belief that conservators aren’t the one-and-only voice that matters when it comes to preserving cultural heritage. We have certain knowledge and skills related to materials and how they age, but knowledge from many different and diverse sources is needed to preserve cultural heritage. At BACC, we agree that our efforts to preserve cultural heritage are enriched by knowledge from diverse origins and community involvement and empowerment. I’m incredibly excited to be a part of a team that values collaboration and centers community-building in their mission! Elizabeth is fourth-generation San Diegan and a PhD Candidate in the UCLA/Getty Interdepartmental Program in the Conservation of Cultural Heritage. To learn more, check out her bio here. |