![]() 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. 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? 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. ![]() The National Endowment for the Humanities has announced the funding of the California Inclusive Preservation Program, an initiative of the Balboa Art Conservation Center (BACC), the only nonprofit regional conservation center in the western region. The $345,224 award is one of nine granted under the NEH’s Preservation and Access Education and Training Program, and is welcomed news for the San Diego based nonprofit, which is committed to shifting the way regional conservation centers engage with collections and communities. As part of this shift, BACC has launched the California Inclusive Preservation Program which fulfills its vision of supporting training and education opportunities for stewards of cultural heritage in the state, focusing on rural, BIPOC, and veteran collections. The California Inclusive Preservation Program (CIPP) will work with community and institutional partners to grow collections care knowledge and access throughout California through collaborative and accessible preservation training. It will provide virtual and in-person learning opportunities that are responsive to the needs of California’s humanities collections, serve communities and collections historically excluded from preservation services, and create a network of collections caretakers that will continue to sustain and broaden the scope of this necessary work. Humanities collections within the state are incredibly diverse, and the need for preservation training among collections staff is ongoing. CIPP will work to eliminate barriers to access for some of the state’s most vulnerable institutions and collections and support heritage caregivers that reflect the diversity of California’s collections. The vision of CIPP is supported by a network of institutional partners throughout the state that will be essential in program delivery: Turtle Bay Exploration Park and Museum, Redding, CA; Fresno Art Museum, Fresno, CA; Cheech Marin Center for Chicano Arts and Culture at Riverside Art Museum, Riverside, CA; Oakland Museum of California, Oakland, CA; Morris Graves Museum of Art, Eureka, CA; and Santa Barbara Historical Museum, Santa Barbara, CA. The project is being funded, in part, by NEH’s special initiative, American Tapestry: Weaving Together Past, Present, and Future due to its ability to emphasize the role of the humanities in tackling contemporary social challenges. BACC Executive Director Leticia Gomez Franco notes, “Accessible training opportunities are essential for the long-term preservation of California’s collections. The state’s humanities collections are key in telling the stories and uplifting the voices of those who have historically been silenced. The lack of access to conservation services and inclusive preservation knowledge puts many of these collections and the intangible values they embody for their communities at risk. The California Inclusive Preservation Program is a testament to BACC’s unwavering commitment to democratize conservation knowledge and resources and center community. I am honored that in its winning year, it was additionally identified with aligning with NEH’s American Tapestries, an initiative that attests to the need for addressing equity and inclusion in our nation’s cultural heritage investments.” 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 nine 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 National Endowment for the Humanities The National Endowment for the Humanities (NEH) is an independent federal agency created in 1965. It is one of the largest funders of humanities programs in the United States. The Endowment awards grants to top-rated proposals examined by panels of independent, external reviewers. 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. ![]() Whitney Drechsler (she/her/hers) is Director of Estate & Tax Solutions, LourdMurray. After receiving her law degree and working for several years as a practicing attorney, she transferred her skills to the realm of finance where she has been since 2015. In her current role at LourdMurray, an independent financial advisory firm in California and Louisiana, she leads the Estate and Tax Planning group where she can provide education and advice to both clients and colleagues. In this role she provides comprehensive wealth planning to artists, athletes, entertainers, business owners and families, with an emphasis on tax and estate planning and strategy. Philanthropy and charitable planning are an integral part of her life and career. In addition to donating her time, she helps guide non-profit organizations with investment management, corporate governance, planned giving and family legacy. She holds a bachelor of Business Administration, Legal Studies, with a minor in Art History, from the University of Miami, Florida. She received her JD with a focus on Art, Intellectual Property and Contract Law, from Thomas Jefferson School of Law, and followed it with an LLM in International Tax and Financial Services. Whitney also holds the Certified Financial Planner® designation. Whitney will be pursuing her Chartered Advisor in Philanthropy(R) designation in 2024. Whitney lives in San Diego with her dog and boyfriend, and enjoys outdoor adventures, live music, world travel, golf, and sports. BACC: How does your professional, community, and/or cultural work inform your role as a BACC Board Member? Whitney: Since I was in college, I have taken an interest in both business and organizational administration, and the arts. The intersection of these disciplines has always fascinated me and driven many of my career and personal choices. I have tried to stay connected to arts communities, both locally and beyond, and my work on the board is a direct example of this. I have worked with various types of nonprofits for most of my education and professional career. Additionally, having a background in estate planning and finance allows me to be a trusted advisor to BACC for investment management, financial reviews and audits, and developing planned giving initiatives. As I pursue a further designation as a Certified Advisor in Philanthropy, I help to further guide the community, BACC, and my clients in effective charitable giving, and charitable organization management. B: What excites you most about being on the BACC Board? W: I enjoy giving back and I consider philanthropy to be an integral component in my life. I also think the vast world of “the Arts” is fascinating in so many ways. BACC combines science and art in ways I never knew was possible before my involvement with the organization and that is very exciting to me. It is exciting to be a part of this organization because I find the work of BACC crucial to cultural preservation and our conservators do it at the highest level of care and professionalism. B: If you could have one artwork or artifact (personal or otherwise) conserved by the BACC team, what would it be and why? W: My grandfather was an artist in several different mediums. His watercolor paintings and bronze sculptures are my favorites. It is hard to choose one but as a general matter I would choose one of my grandfather’s works. |
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