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ABSTRACT
The conservation of Kiosque l’évidé, a painted outdoor fiberglass-reinforced phenoxy resin sculpture by Jean Dubuffet (1901–1985), involved a number of unusual challenges that necessitated the development of novel treatment protocols. Remedying the sculpture's severely compromised physical condition demanded the complete removal of its painted surface and innovative planning for the precise replication of its paint scheme and pattern. The sculpture's large size and layered material composition presented challenges; moreover, the technical data received from the artist's foundation posed ethical questions about the definition of original materials, color, and appearance, forcing us to search for alternate sources of reliable information, which included analysis of the sculpture's materials. This article describes the broad range of issues we faced during a major conservation treatment, the irregular path that such a complex effort invariably took, and the perseverance and decision-making processes required to achieve a successful outcome. We detail three main solutions: a custom dolly system to safely and easily transport and handle the oversized sculpture; a method to photograph and accurately project the original paint scheme so that we could replicate the paint pattern; and challenges in sourcing paint products that provided an unusual and narrow range of optical and working properties.
RÉSUMÉ
La restauration de Kiosque l'évidé, une sculpture peinte extérieure de Jean Dubuffet (1901-1985) réalisée en résine phénoxy renforcée de fibre de verre, a posé un certain nombre de défis inhabituels qui ont nécessité le développement de nouveaux protocoles de restauration. Remédier à l'état physique gravement compromis de la sculpture a exigé l'élimination complète de sa surface peinte et une planification innovante pour la reproduction précise du dessin et des motifs peints. Les grandes dimensions de la sculpture et sa composition en couches de matériaux présentaient des défis; de plus, les données techniques transmises par la fondation de l'artiste ont soulevé des questions d'ordre éthique sur la définition des matériaux, de la couleur et de l'apparence d'origine, nous obligeant à rechercher des sources d'informations alternatives fiables, notamment par l'analyse des matériaux de la sculpture. Cet article décrit le large éventail de problèmes auxquels nous avons dû faire face lors d'une restauration majeure, le chemin sinueux qu'un effort aussi complexe a inévitablement emprunté, ainsi que la persévérance et les processus décisionnels requis pour atteindre nos objectifs. Nous détaillons trois solutions principales : un système de chariot personnalisé pour transporter et manipuler facilement et en toute sécurité la sculpture surdimensionnée ; une méthode pour photographier et projeter avec précision le dessin de la peinture d'origine afin que nous puissions reproduire le motif peint ; et les défis posés par l'approvisionnement en peintures offrant une gamme inhabituelle et étroite de propriétés optiques et de mise en œuvre. Traduit par Élisabeth Forest.
RESUMO
A conservação de Kiosque l'évidé, uma escultura de resina de fibra de vidro pintada ao ar livre por Jean Dubuffet (1901-1985), envolveu uma série de desafios incomuns que exigiram o desenvolvimento de novos protocolos de tratamento. Remediar a condição física severamente comprometida da escultura exigiu a remoção completa de sua superfície pintada e o planejamento inovador para a replicação precisa de seu esquema de pintura e padrão. A composição de grande tamanho e material em camadas da escultura apresentou desafios; além disso, os dados técnicos recebidos da fundação do artista colocavam questões éticas sobre a definição de materiais originais, cor e aparência, forçando-nos a buscar fontes alternativas de informações confiáveis, que incluíam a análise dos materiais da escultura. Este artigo descreve a ampla gama de questões que enfrentamos durante um grande tratamento de conservação, o caminho irregular que um esforço tão complexo invariavelmente tomou, e os processos de perseverança e tomada de decisão necessários para alcançar um resultado bem-sucedido. Detalhamos três soluções principais: um sistema personalizado de dolly (carrinho especial) para transportar e manusear com segurança e facilidade esculturas de grandes dimensões; um método para fotografar e projetar com precisão o esquema de pintura original para que pudéssemos replicar o padrão de pintura; e desafios na aquisição de produtos de pintura que fornecessem uma gama incomum e estreita de propriedades ópticas e de trabalho. Traduzido por Beatriz Haspo.
RESUMEN
La conservación de Kiosque l'évidé, una escultura de resina fenoxi reforzada con fibra de vidrio pintada y exhibida al aire libre de Jean Dubuffet (1901–1985), implicó una serie de desafíos inusuales que condujeron al desarrollo de protocolos de tratamiento novedosos. Remediar la condición física severamente comprometida de la escultura exigió la eliminación completa de su superficie pintada y una planificación innovadora para la réplica precisa de su esquema y patrón de pintura. El gran tamaño de la escultura y la composición de materiales en capas presentaron desafíos; además, los datos técnicos recibidos de la fundación del artista plantearon cuestiones éticas sobre la definición de los materiales originales, el color y la apariencia, lo que nos obligó a buscar fuentes alternativas de información confiable, que incluyeron el análisis de los materiales de la escultura. Este artículo describe la amplia gama de problemas que enfrentamos durante un importante tratamiento de conservación, el camino irregular que invariablemente se derivó de un esfuerzo tan complejo y la perseverancia y los procesos de toma de decisiones necesarios para lograr un resultado exitoso. Detallamos tres soluciones principales: un sistema de plataforma de carga, rodante y hecha a medida para transportar y manipular de forma segura y fácil la escultura de gran tamaño; un método para fotografiar y proyectar con precisión el esquema de pintura original para que pudiéramos replicar el patrón de pintura; y los desafíos en el abastecimiento de productos de pintura que proporcionaron una gama inusual y limitada de propiedades ópticas y de trabajo. Traducción: Amparo Rueda.
Sources of materials
Green, non-sag filler: 3M Scotch-weld multi-material composite urethane adhesive DP6310NS
R. S. Hughes
1162 Sonora Court
Sunnyvale, CA 94086, US
Tel: +1 (877) 774-8443
3M
https://www.3m.com/3M/en_US/p/d/b40072315
Consolidant and hard-shell surface of the mock-up: WEST SYSTEM 105 Epoxy Resin combined with WEST SYSTEM 205 Fast Hardener
Jamestown Distributors
https://www.jamestowndistributors.com/userportal/main.do
Brushes: 1 in. (25 mm) medium-stiff Purdy nylon-polyester commercial XL angled brush, available at big-box stores
#10 (21 mm) and #12 (24 mm) Princeton Aspen Series 6500 synthetic bristle filbert brushes
Paper for stencil: Tracing-paper roll
Blick Art Materials
PO Box 1267
Galesburg, IL 61402-1267, US
Tel: +1(800) 828-4548
https://www.dickblick.com/products/princeton-aspen-series-6500-synthetic-brushes/
Purdy Professional Painting Tools
https://www.purdy.com/products/brushes/xl/
Plastic abrasive for blasting: Plasti-Grit Type II Urea Grade 40/60 Plastic Blast Media
Composition Materials Co. Inc.
249 Pepes Farm Road
Milford, CT 06460, US
Tel: +(800) 262-7763
Omini Finishing
Tel: +1 (800) 220-1075
Email: [email protected]
http://products.omnifinishing.com/item/plastic-blastingmedia/urea-type-ii/item-2871
Patching compound: Zinsser MH Ready Patch Spackling & Patching Compound
Rust-Oleum Corporation
11 Hawthorn Parkway
Vernon, IL 60061, US https://www.rustoleum.com/pages/industrialsolutions/
PPG Amerlock 2 High-Solids Epoxy Coating
PPG Paints
292 Murphy Road
Hartford, CT 06114, US
Tel: +1(860) 522-9544
https://docs.td.ppgpmc.com/download/927/2448/amerlock-2-voc
Repaint systems (and information on their durability):
Repaint system 1: PPG Spectracron 531/532 High Build 2K Epoxy Primer; PPG Spectracron 380 POLY-IOTHANE HS Exterior Grade Polyurethane Enamel (colors: PC835 Porcelain White, PC828 Black Gold, PC844 Watchman Blue); PPG Global Refinish Matte Clearcoat System D8115 (clearcoat experiment)
PPG Paints
292 Murphy Road
Hartford, CT 06114, US
Tel: +1(860) 522-9544
Repaint system 2: Sherwin-Williams SW Polane Plus Sealer E65A71; SW Polane 8890 Polyurethane Enamel (colors: custom Dubuffet White containing Extra White, with N1-Raw Umber and Y3-Deep Gold added; B65B550 Black; SW4056 Blueprint, and B65B550 Black)
Sherwin-Williams Commercial Paint Store
425 Benton Street
Stratford, CT 06615, US
Tel: +1(203) 377-1711
Repaint system 3: Sherwin-Williams Macropoxy 646 Fast Cure Epoxy HB (High Build) primer; SW Bond-Plex Matte Waterbased Acrylic Coating (colors: custom Shur-Color Dubuffet White containing Extra White, with N1-Raw Umber and Y3-Deep Gold added; B65B550 Black; custom blue containing SW4056 Blueprint mixed with B65B550 Black, 200 parts to 16 parts by volume, and B65B550 Black)
Sherwin-Williams Paint Store #5465
997 Wolcott Street
Waterbury, CT 06705, US
Tel: +1(203) 574-4159
https://www.sherwin-williams.com/document/PDS/en/035777586785/
Acknowledgments
The authors would like to express their gratitude toward the following individuals and institutes for their contributions to this project: PepsiCo Corporation, for their patience and understanding throughout this project: Constance van Rhyn and Mark John Francis; Suzanne Quigley; Sophie Webel and Richard Dhoedt, Dubuffet Foundation; Roger Van Brussel, American Dry Stripping & Xtreme Coatings; Explicit Airbrush; Mark LeClair, sculptor and restorer; Zachary Girardin, sculptor and restorer; Steven Mayka, New York Home X-Ray; Nica Gutman Rieppi and Dr. Jilleen Nadolny of ArtDiscovery Inc.; and Jerry Thompson, professional photographer. The following conservators and institutions supplied valuable information for this treatment: Claire Taggart and John Campbell, Nasher Sculpture Center, Dallas; Lynda Zycherman, Museum of Modern Art, New York; Emily D. Heye and Cybele Tom, Art Institute of Chicago; Susanne Kensche, Kröller-Müller Museum; and Douglass Kwart, Kwart Conservation.
Disclosure statement
No potential conflict of interest was reported by the author(s).
Notes
1 Pace Gallery's sales certificate to PepsiCo Corporation, the current owner of Kiosque l’évidé, dates the sculpture as “1970–84.” This document indicates that Dubuffet approved the plan to enlarge the model in 1984, and the enlargement was completed in that year (PepsiCo Citation1985). In 1983 Dubuffet had approved enlarging another model, Tour aux figures (1967), for the French state, but the monumental sculpture (24 m tall) was not installed at the Parc Départmental de l’Île Saint-Germain until 1988, after the completion of Kiosque l’évidé in 1984. The completion date of the enlarged Tour aux figures is not provided on the Dubuffet Foundation website, which states only that Dubuffet approved the site of Tour aux figures in January 1985 and that the sculpture was “realized in 1988 after a model from 1967” (see Dubuffet Foundation website: https://www.dubuffetfondation.com/oeuvre.php?quelle_oeuvre=6565&lang=en&chrono=1). Thus Kiosque l’évidé seems to be the sculpture whose maquette was the last to be approved by the artist for enlargement, but the work was completed in its enlarged version as the second-to-last of Dubuffet's large sculptures. For more information on Tour aux figures, see Gatier (Citation2003). For the method of enlargement and execution of the sculpture, see the Dubuffet Foundation website, especially videos 3 and 4: http://www.dubuffetfondation.com/focus.php?menu=39&lang=en.
2 Sophie Webel, director the Dubuffet Foundation, states in her email to Suzanne Quigley, registrar for PepsiCo's art collection; Eleonora Nagy, conservator; and Mark John Francis and Roseanne Prosser, both PepsiCo representatives, that the styrofoam's “bubbly” texture is so “important to keep and retain when you restore a crack” (Webel Citation2018). Conservator Susanne Kensche at the Kröller Müller Museum in The Netherlands has emphasized the significant characteristics of the black lines when the museum recreated the color scheme on Dubuffet's Jardin d’Émail (1974), which was reinstalled on the museum's grounds in 2020 after five years of treatment (Kensche Citation2020a).
3 Phenoxy resins were developed in the early 1960s by Union Carbide Corp. and are closely related chemically to the more familiar epoxies (Bugel, Norwalk, and Snedeker Citation1963). Phenoxy resins are made from bisphenol-A and the epoxy compound epichlorohydrin. Their basic chemical structure is similar to that of epoxy resins, although after reactions during polymerization, the resin has virtually no remaining epoxide functional groups. Thus phenoxy resins can be classified as polyethers because of the chain of ether functional groups across their backbone. Alcohol functional groups are also present, allowing for further modifications through cross-linking reactions with isocyanates or other chemicals (Curtesy of ArtDiscovery Inc., Citation2019).
Additional information
Notes on contributors
Eleonora E. Nagy
Eleonora Nagy is the owner and principal conservator of Modern Sculpture Conservation, LLC. Nagy earned a Master of Art Conservation at Queen's University, Kingston, Ontario, Canada, and an MA in Sculpture in Budapest, Hungary. She is a Professional Associate of AIC and a Fellow and Council Member of IIC. Her decades of institutional employment include working as a conservator at Tate Britain, Canadian Conservation Institute, Solomon R. Guggenheim Museum, and the Whitney Museum of American Art. Nagy specializes in the treatment of modern and contemporary three-dimensional works of art, with particular expertise in modern metals, Donald Judd, and Alexander Calder. Address: 59 Walker Street, New York, NY 10013, US. Email: [email protected].
Alfred Lippincott
Alfred and Donald Lippincott are fabricators and co-owners of Lippincott's, LLC, a company that specializes in the fabrication of large-scale sculpture. Address: 2399 Ridge Road, North Haven, CT 06473, US. Email: [email protected].
Jamie Chasse
Jamie Chasse is the owner and operator of Explicit Airbrush, a shop that specializes in painting works of art and custom motorcycles. Address: 45 Railroad Avenue, Southington, CT 06489, US. Email: [email protected].
Roseann Prosser
Roseann Prosser is the collection manager of the PepsiCo Inc. Art Collection. Address: 700 Anderson Hill Road, Purchase, NY 10577, US. Email: [email protected].