Jane Gillies, Per Knutås, and James Craven
Electronic Media Review, Volume Seven: 2021-2022
ABSTRACT
This paper presents the results of that research and will discuss the decision-making processes involved in determining the display, and the re-treatment that was carried out for two sculptures: Fourrures, from 1962 and Radio Drawing, WNYR No.16 from 1963.
The Museum of Fine Arts, Houston (MFAH) opened a 237,000-square-foot-building for 20th- and 21st-century art in November 2020. The inaugural installation includes a gallery almost exclusively dedicated to kinetic sculptures by the Swiss artist, Jean Tinguely. Preparation for the long-term display of 10 of his sculptures ranging from 1958-1964 included research into archival records from photographic images to written documentation. Previous work had been undertaken by many people including non-conservators, who frequently brought their own ideas into play. Efforts to unravel all the changes that had been made since the sculptures’ creation complicated the decision-making process.
The curatorial expectations of presenting the sculptures activated as intended did not always align with the material limitations. Explorations into compromises that would honor both, led to recordings of the movements as a part of the condition assessment. Fourrures was substantially altered over time, primarily owing to the deterioration and damage of the fur components. Significant damage to the fur was discovered when a small blurry Polaroid and letters to the artist emerged, indicated that the largest fur had been torn in half. Other changes were made by both a local artist and Tinguely’s assistant. To the extent possible, we brought back the sculpture closer to its “original state,” from comparison with images taken in both the artist’s studio and in a 1965 exhibition at the MFAH.
Radio Drawing, a kinetic sculpture with an analog AM radio transmission continuously moving along the radio spectrum, had also been altered, and there are no recordings of the original sound. This sculpture didn’t pose material limitations, but the intended soundscape was unknown. Explorations into “live” transmission, or recorded sound led to discussions about display options, technology upgrades, curatorial expectations and sound aesthetics. The question arose as to how to produce a facsimile of the original sound using samples of sounds synchronized with the original movement and, at the same time respect the artist intent. Other complexities included potential non-operational components added by the artist, such as a light socket and a speaker.
Modern technology coupled with these analogue kinetic sculptures will allow us to honor the intent of the artist, by displaying the sculptures activated at a predetermined set schedule. Since the sculptures both command a visual and audible confrontational space, some of the sculptures will be set on a schedule while others, too fragile to operate without supervision of a conservator, can be seen and heard activated on a display adjacent to the sculptures. This will prolong the useable lifetime of the artworks as well as respecting the authentic presentation of these sculptures.
AUTHORS
Jane Gillies
Senior Conservator of Objects and Sculpture
Museum of Fine Arts, Houston, TX, USA
Per Knutås
Head of Conservation
Museum of Fine Arts, Houston, TX, USA
James Craven
Conservation Imaging Specialist
Museum of Fine Arts, Houston, TX, USA