As a kid growing up, I was always interested in science and the arts. That stayed with me through college. When I was about to get my bachelor’s degree, my art history program chair asked me if I had ever considered art conservation for graduate work. I had never even heard of it. Turns out, it was the perfect marriage of my two main interests: The application of science to the preservation and restoration of art.
I was admitted after my first application to the conservation center in Lombardy, Italy – a satellite program affiliated with the National Center in Rome (ICR). During my three year program, I worked on numerous Renaissance to Baroque affrescos in ancient abbeys, libraries and churches. I also worked on many small and very large canvases. We worked on site and in the state of the art laboratories of the conservation center.
I got instruction from seasoned professionals who had worked around the world on UNESCO projects (on murals in temples in Burma and in the tombs of Egypt) and who were well informed on international current standards of practice, and techniques especially after working with the international community in response to the devastating Florence Flood of 1966 (9 years earlier). Our professors and teachers came up from Rome and we went to Rome often to interact with the Istituto Centrale Del Restauro.
I graduated from the formal Italian government 3 year painting/mural conservation and restoration program in 1978.
The field of art conservation and restoration encompasses a wide range of specialties. My expertise is focused on painting restoration. I work exclusively on paintings—whether on walls (murals), canvas (easel paintings), or paper.
My specialization is limited to paintings; I do not work on books, furniture, stained glass windows, or other artifacts. My goal is to preserve the authenticity and integrity of each piece, ensuring its beauty endures for future generations.
The plan is to keep the work light and portable using “airplane technology” – affixing the slats to 1-inch-thick aluminum honeycomb material. The owner doesn’t want the piece to look new. He wants to preserve the street-art aesthetic. He wants the piece to look like it did on the side of the Red Victorian house. “When we’re done, it’s going to look like you are standing on the rooftop looking at the wall,” Haskins said.
A mural dedicated on April 30, 1988 to persons who have so courgeously given us hope in living and finding the answers in overcoming this disease.
By artist Russell Carlton for the AIDS Project of Los Angeles
“We are grateful to have identified the highly expert, art preservation and restoration specialists Fine Art Conservation Laboratories who have determined a safe method for conserving and relocating the murals, and to the local arts community for their support.”
- Dan Minning, Lillibridge Executive Vice President, Property Management & Leasing.
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