At the beginning of the summer I set out to photo document each one:  Spaces with Iron, Mega Gem, Portrait of History, and East Gate/West Gate.  From this day of documentation I created detailed condition reports. From there, IMA Conservator Richard McCoy, and fellow conservation intern, Nicole Peters (of recent IMA Blog fame) and I returned to campus to wash all four and then wax the two bronze artworks.  By that time summer was in full swing and the 90 degree day with clear skies made for some pretty interesting (and sweaty) work.

Never having waxed a bronze in my life, I read up on the subject to prepare.  Patrick V. Kipper’s The Care of Bronze Sculpture breaks down each step in process of waxing a bronze artwork, as does the IMA blog from last year, Caring for Bronze in the Community.  It seemed easy enough.  Some light blow torching, applying wax, smoothing the wax out evenly, applying the blow torch again, et voilà!  You can imagine it was not so simple.  At ten in the morning the sun was already scorching hot.  Cleaning Will Horwitt’s Spaces with Iron proved difficult when the water was evaporating faster than we could rinse the suds away.

Rinsing off "Spaces with Iron" before waxing can begin.

After scrubbing off grime and bird guano from the artwork, we added heat to the already hot day with the help of a large propane torch.  Monitored by Richard, Nicole and I created an efficient team, with one of us heating the metal and the other waxing the surface.  At first I was a little unsteady with the large blow torch so I worked as the waxer, however my fellow intern Nicole did not share my jitters and helped out immensely.

Nicole Peters uses a blow torch to heat the bronze surface as Abbott Nixon applies a protective layer of wax.

Once finished with Spaces with Iron there was a great sense of satisfaction … for about one minute, then we remembered we were about to do this all over again with the Zhou Brother’s Portrait of History. Unlike the smooth surface of Spaces with Iron, Portrait of History has a mottled texture which proved difficult not only to clean but to wax as well.

Abbott Nixon cleaning the difficult surface of "Portrait of History" By the Zhou Brothers.

After finishing Portrait of History, the next day we moved on to washing John Torreano’s Mega Gem.  Seemingly straightforward, Mega Gem required a simple washing with Orvus soap.  After it was cleaned, Richard decided that the streaking on the piece made it look uneven and rather grimy.

The most straightforward way to remove this staining was to clean the entire surface with mild scrubbing pads.  A quick detour to a hardware store procured the scrubbing pads and off to work we went removing the dark streaks of aluminum oxide.  Aluminum oxide develops naturally on all uncoated aluminum surfaces.  Though it does reduce the metallic sheen of aluminum, it also prevents other more unsightly corrosion from occurring.

Our final stop was at Sasson Soffer’s East Gate/West Gate. The 30-foot-tall stainless steel sculpture was not in great need of cleaning: only the lower portion had areas of visible rust staining (iron oxide).  Never working with outdoor sculpture, I was intrigued by the development of this corrosion product.  Stainless steel is supposed to be stainless, right?

It turns out that similar to the aluminum oxide layer that develops to protect aluminum, stainless steel has a layer of chromium oxide which provides the “stainless” element that other iron alloys do not possess.  If the protective chromium oxide layer is damaged, rust (iron oxide) will begin to form.  The chromium oxide layer will regenerate in the presence of oxygen, however if some other element gets there first – like chloride ions – the protective layer will fail to regenerate, giving way to the development of iron oxide.

The Getty Center put together a wonderful book on outdoor sculpture conservation, Conserving Outdoor Sculpture: The Stark Collection at the Getty Center.  The book describes a test study about the removal of rust from two of their metal artworks, George Rickey’s Three Square Gyratory and Robert Adams’ Two. This spurred my interest in creating my own test to remove the rust on East Gate/West Gate.  We used the commercially available CLR, Super Iron Out, and Bar Keepers friend (phosphoric and oxalic acid-based products) and a solution of 10% phosphoric acid solution that was made in the conservation lab.

Products ready for testing their rust removal capacities. From the left: Bar Keepers Friend. CLR, 10% Phosphoric Acid and Super Iron Out.

The idea was to test the harsher acids and their safer counter parts.  We tested two areas: one of light rust build up and one of heavy rust build up. All four products were applied with cotton and left to set for 20 minutes.

Abbott Nixon applying Bark Keepers Friend with handmade cotton swab.

The result revealed that, phosphoric acid and Bar Keepers Friend were the most successful at reducing the rust.  In the end, we chose Bar Keepers Friend as the most appropriate product because it was much more mild than using the phosphoric acid, (it is an eye and skin irritant), also it can be potentially hazardous if inhaled.  We ended our day there – perhaps in the future these test results will help inform a more complete treatment of East Gate/West Gate.

Below the blue tape are the results from the tested rust removal products.

For now, I can walk away from this project with the knowledge that I set out to gain at the beginning of the summer.  Having now washed several outdoor sculptures, waxed bronzes, and developed a testing methodology for unknown products, I have a wealth of knowledge to take with me into my next conservation venture and beyond.

A day visit to the Museum can easily include a stroll through 100 Acres no matter what you are wearing.  The pretty sundress and sandals I wore the night of the event fit in perfectly with the atmosphere of the party, but didn’t facilitate fully exploring the park. Something occurred to me as mucked up my sandals and watched a few women struggling around the park in high heels (ouch)…

A visit to 100 Acres is not your ordinary museum visit.

A photo I snapped while looking up at Type A’s Team Building (Align)

I’m already planning my next trip to 100 Acres and this time I’ll be prepared to explore the nature as well as the art.  Clothing choice is weather dependant, of course, but all terrain footwear is a must!  (An aside- If you dropped me on a deserted island and gave me a choice between a sweat-wicking, quick-drying, technical fabric outfit or an attractive, Soccer Pro companion… I’d pick the clothes every time.  Well… maybe.)

Here’s a quick rundown of the essentials I plan stuff in my backpack:

Sunglasses, sun screen, bug spray, camera, a picnic lunch, binoculars (for checking out birds), a bottle of water, a plastic bag for any trash I might produce (LNT!), a notepad and pencil, something to trade with Jessica and Michael out on Andrea Zittel’s Indianapolis Island, and maybe a book to enjoy.
My list reminds me more of gear requirements for summer camp than a museum trip.  But hey, I want to have everything I’ll need to spend a day going over, under, around and through the Park on an artful adventure.

Artworks that are displayed outdoors face different risks than those that are kept inside. The pigeon, for example, is a dangerous bird to bronze sculptures; the acids in guano can actually corrode a bronze patina in a fairly short time. Another risk public artworks face is that we simply stop caring. When we stop noticing the artworks that surround us, their significance and cultural context is lost.

(via Flickr user travelbex)

Enter Wikipedia Saves Public Art (WSPA) which we created as part of our Fall IUPUI Museum Studies class (you might remember our student, Elizabeth Basile, blogged about her personal experience with the project back in December). The logic of this project is to put information about public artworks into Wikipedia so that people won’t forget or stop caring about them. Yes, there’s a lot of guano in Wikipedia, but with its millions of viewers a day and openness to participation, it’s a vital resource for the cultural sector.

Before we started WSPA, there were only a handful of articles in Wikipedia about public art in Indianapolis—not so good for a city that brags about having more monuments than any city other than Washington, DC. Through our efforts, there are now 57 articles (and more each week) about local public artworks on Wikipedia. Since we started WSPA, our articles have been viewed more than 66,000 times. Now we are thinking big about how WSPA can truly become a global project and how to get more people to make articles about public art in their own town.

Recently, we’ve had a lot of help from Lori Byrd Phillips (an IUPUI Museum Studies graduate student) and Sarah Stierch (a soon-to-be George Washington University Graduate student, who runs her own blog, Sarah – Your Favorite Museum Intern. Together, we’ve begun developing “The Process” to help Wikipedians and public art advocates translate information contained in public databases into Wikipedia articles. For example, did you know that volunteers working through Heritage Preservation’s Save Outdoor Sculpture! surveyed Indianapolis in 1992-1994 and found 205 sculptures? Information about all of them is available online through the Smithsonian’s public database.

Thanks to Magnus for making the application that allowed us to make this chart

But a lot has happened in Indy’s world of public art since the early 1990s. That’s why actually going out and visiting the artworks is important—to verify the information contained in the Smithsonian’s database, to make note of any changes, and to use the tools of 2010 to research and share information about those changes. In addition to finding artworks surveyed by the SOS! folks, you can research new artworks that have been installed across the city. We’re grateful to have our laptops, cell phones, and Web-based tools that have allowed us to create these cool things:

Here’s the Flickr map that we are using to plot the location of the more than 500 images we’ve taken of public art in Indianapolis. By mapping them in Flickr we also resolve their GPS coordinates.

Here’s the Google map that we’re using to plot the original 205 SOS! entries from the Smithsonian database. While the Flickr map is a lot easier to use, we are also experimenting with Google Maps because its satellite maps are so much better.

And here are two Gowalla trips we’ve made for Indianapolis:

IUPUI Public Art Collection Highlights Tour.

Top 10 Public Artworks in Indianapolis.

Gowalla is an iPhone-based app that has a lot of potential for helping to geo-locate and photo document public artworks. Look, for example, at the number of people that have checked in and taken a photograph at the Texas Rangers Monument in Austin.

These tools have helped us locate, document, and share information about hundreds of public artworks in just a few weeks. With this information we will continue making Wikipedia articles about public art in Indianapolis. As mobile technology spreads (particularly GPS-based technologies), opportunities to care for public art will also grow.

Wikipedia Saves Public Art. Logo designed in 2009 by Michael Mikulay.

With all of this in mind, we’re excited about travelling to Denver next Tuesday to participate in the one-day workshop, Wikimedia@MW2010. Perhaps we’ll have a chance to discuss how WSPA is an effective tool for documenting collections of public art that are not well known beyond their distinct local context. Also in Denver, we’ll be joining Rob Stein to listen to Max Anderson and Samuel J. Klein (Wikimedia Board of Directors) give the keynote presentations and then work through important issues and ideas raised by other participants. Our experiences with WSPA have given us a few ideas for the cultural sector that we’d like to share in advance of Wikimedia@MW2010:

* In the spirit of the Encyclopédie and in particular the Descriptions des Arts et Métiers, Wikipedia can become the central hub of information about the materials, tools, and techniques artists have used and are currently using in their practices. Likewise, Wikipedia can become the central hub of information for the materials, tools, and techniques art conservators use in their work. An ideal article about a public artwork would include a material and technical description that was linked to corresponding and accurate information within Wikipedia.

* Public art today is often made using “current technology,” which presents an entire new set of issues. For example, Jaume Plensa’s Crown Fountain in Chicago is comprised of thousands of LEDs. Many technologies used in art quickly become outdated or difficult to update after a few short years. What if we could develop a similar “Conservation Status” for technologies like what exists for endangered animal species like the Bengal Tiger?

* Cultural institutions and public repositories should be encouraged to share their out-of-copyright images of art and put them in Wikimedia Commons.

* Finally, wouldn’t it be cool if the article about Art21 and all of its seasons was as thoroughly detailed and researched as iCarly’s?

What WSPA really needs, though, is for more people to make articles about public art in Wikipedia. Why not try it? If you need some inspiration, check out the “Template”, “Showcase,”, and “Open tasks”. And be sure to use the “talk pages” to leave feedback, questions, or ideas so we can all work together to make the project better.

Everything we know about Wikipedia and the other digital tools discussed above, we’ve learned by using our computers to experiment and engage in dialogue with more experienced contributors. (Wikipedia even gives “newbies” a sandbox to play in!) If you care about cultural heritage, you’ll find many kindred spirits in Wikipedia. That’s why we’d like to see you on Wikipedia, where we can work together and maybe even enjoy some Wiki Love. In an effort to bring some of the energy from Wikimedia@MW2010 directly back to Indianapolis, we’ve invited Liam Wyatt (Vice President, Wikimedia Australia) to give a public lecture at the Herron School of Art and Design on April 19 at 1:30 p.m. in the Basile Auditorium.

The Rocky Horror Picture Show, Summer Nights 2008

Now it’s time to mark your calendars for season #34 of Summer Nights, June 5-August 28. As one of the few art museums in the country with an amphitheater, the IMA offers a unique movie-going experience. All you need is a blanket, some friends and a picnic basket full of goodies. And, by popular demand, another special midnight screening of The Rocky Horror Picture Show is in the works.

VOTE NOW! Below are four categories of films. Vote for your favorite film in each of the categories as often as you like. Polls close at noon on February 25, and results, including the full Summer Nights schedule, will be announced in March on the IMA Blog.

VOTING IS NOW CLOSED.
STAY TUNED TO THE IMA BLOG FOR OFFICIAL RESULTS IN MARCH!

*Licensing fees and restrictions may prohibit certain selections from being screened. However, the IMA will do all that is possible to secure and show all winning films.