Hear the Conservator (y1969-131)
Hear the Conservator (y1969-131)
Collaborating with Picasso in 1971 to produce Head of a Woman, sculptor Carl Nesjar used the Betograve process, adding colored gravel when casting the concrete forms and then blast-cutting the surfaces to expose the colored stone according to Picasso's designs. Because the porous surface of concrete absorbs airborne particles, rain, and dew, it suffers from stains and from corrosion by acid rain, freeze-thaw, and growths like algae and lichen. To protect Head of a Woman, soon after construction a thin, white, cement-like sealant was applied over the entire artwork. The unintended effect was reduced visual intensity in the exposed rock colors.
Our first conservation measures, in 1994, eliminated this haze. I also stabilized the concrete surfaces and eased future cleaning by infusing the concrete with a colorless, water repellent consolidant. Ever since, on a regular basis, we have cleared and rinsed away stains, litter, air-deposited soil and other contaminants, and algae, lichen, and sprouts from Head of a Woman's facial panels, and especially from the peaked-roof back planes. Since its 2002 move to Spelman Halls, Head of a Woman's eastern orientation, within a shallow grove of trees and rather near a building, exposes the sculpture to high humidity and shields its back from direct sunlight, so, along with the prior concerns, we also combat moss that can destructively root into the concrete.
Keeping outdoor sculpture at its best requires constant vigilance and regular periodic action.
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