What’s in a Wood? How Science Helps to Reveal the Eames’ Vision
Conservators make an intriguing finding about the wood in the Eames House.
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sculpture and decorative arts conservation
(Re)Discovering Tiberius
Newly cleaned and conserved at the Getty Villa, this monumental Roman statue will go on view October 16.
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Waxing and Waning of Summer in Decorative Arts & Sculpture Conservation
The quest for the perfect wax to buff and protect outdoor sculptures at the Getty.
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The Case of the Broken Wax Banana
Conservator Julie Wolfe explains adhesive methods to repair to a Robert Graham piece.
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Looking Under Judy Chicago’s Car Hood
Chicago was one of several California artists in the 1960’s who adopted techniques and materials from L.A.’s car culture.
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Art with an On-Off Switch: Restoring Stephan von Huene’s Tap Dancer
Art with an On-Off Switch: Restoring Stephan von Huene's Tap Dancer
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Conservation Comes Outdoors for Henry Moore’s “Bronze Form”
What’s inside this tent? Henry Moore’s monumental sculpture Bronze Form 5/6—normally the first artwork visitors see when arriving at the Getty Center—is undergoing a... Read More
All Shook Up! Protecting Art in an Earthquake
When you look at sculpture in the Getty Museum’s galleries, you wouldn’t guess that some of the pedestals are somewhat unusual. Under their polished... Read More
Gray Column Rises
One of the most influential sculptors active in Los Angeles in the 1960s and 1970s, De Wain Valentine is perhaps best known for his... Read More
Conserving Lichtenstein’s “Three Brushstrokes”
A long lively stroke of deep brilliant blue, black, and white, a curved swipe of muted yellow, a short dab of red—perhaps you’ve seen... Read More
Apollo’s Drapery: An Unfolding Puzzle
A new exhibition opening at the Getty Villa, Apollo from Pompeii: Investigating an Ancient Bronze, marks the completion of an 18-month conservation project that... Read More
What Does Plastic Have to Do with Art?
Many types of plastic used in artworks are now beginning to exhibit serious signs of deterioration – discoloration, crazing and cracking, warping, becoming sticky, and in extreme cases, turning completely to powder. The sheer number of plastics available constitutes a huge challenge for the conservation profession.
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