Tiles and Smiles

Yesterday all of the interns, along with Curator of Visual Resources John Trendler, went to the First Street Gallery Art Center in Claremont for a tile-making workshop.

First Street Gallery Art Center is a non-profit program of the Tierra del Sol Foundation, which serves adults with developmental disabilities in the San Fernando and San Gabriel/Pomona Valleys. As part of this foundation, the gallery provides art training and exhibition space for more than 50 people who otherwise would not be as able to express themselves creatively, much less be recognized professionally for their work. The artists receive %60 of all profits from their sales; the other %40 goes to operating costs at First Street Gallery.

We arrived at First Street around 9:30. We were given a tour of the place by the director, Rebecca Hamm, and then we were guided to tables outfitted with all sorts of clay-working instruments. First Street Gallery's Getty Intern, Leah, gave each of us a tile, and we set to work on them. The tile workshop was open to anyone in the community, and there were people of all ages drawing and painting on the clay slabs. Each of us made two tiles, at least one of which will be donated to the gallery. All of the donated tiles will be shown this coming fall, and all sales will benefit First Street Gallery Art Center's programs.

By the time I had finished both of my tiles, the regular artists had arrived and were working on their art in the studio space of the gallery. I walked through the room, meeting the artists and enjoying their work. I met Danny, who had drawn a car, over which he had applied a beautiful, thick layer of dark blue paint. LeRoy was cutting out pictures of tropical fish, creating a collage out of the luminous undersea images. Later on, when the other interns had finished their own pieces of clay artwork, we went through the studio again. This time, we met a man constructing a hay bale out of cardboard and strips of yellow paper, and another woman who was drawing an image of parrots from a book. She told us that she chose her images "because of the colors."

Throughout the morning, I was struck by how wonderful this program is. The artists at First Street Gallery Art Center have faced huge challenges, both physical and social, their entire lives. Here they are given the chance to express their unique experiences and to show that, as the First Street brochure states, "human potential for creativity is not limited by physical or intellectual disabilities." And the artwork they make is incredible.

I was sad to realize that I had never heard about First Street Gallery Art Center before yesterday. Such an amazing place should be common knowledge, especially in a place like Claremont where there are so many students looking toward the future, trying to make a difference. I hope that in the future, awareness of the gallery will be raised among the 5C community, beginning a rapport between students and the artists there.

First Street Gallery Tile Workshop from Milan Reed on Vimeo.

Halfway Point

I can't believe I'm writing this—our Getty internship is more than halfway complete. We were warned during the first week that we would feel this way by Week 5, but I think we're all still shocked at how quickly the time has passed.

And it's no wonder! We've had very busy schedules for the past few weeks. In addition to the trip to Culver City and the Getty Arts Summit I blogged about, we also went to a Surrealism lecture at the Getty Research Institute and a Genji Symposium here at Scripps. We met conservators Aneta Zebala and Hisaji Sekichi. And a couple weeks ago, we spent a day in LA with Samella Lewis and Alison Saar. One of my projects this summer has been to reasearch pieces in the Scripps College Samella Lewis Collection and write about them, so meeting Samella and Alison was especially exciting for me. Alison told us about the projects she's been working on lately and her experiences with public art projects. She was wonderfully down-to-earth and kind.

And talking to Samella Lewis was kind of surreal. Have you ever read so much about someone's life and work that you started to feel like you knew them? That's how I was beginning to feel about Samella Lewis. But it turns out there was a lot of information about her that I simply couldn't have learned from my research. There are so many intimate details that get left out of academic articles and museum catalogues and even transcribed interviews. It's really impossible to know someone without actually looking them in the face and hearing what they have to say come straight from their own mouth. Samella had lots of personal anecdotes about her life to share with us. She regaled us with stories from her time spent in Bayou Tesch, Louisiana, which is a place that has inspired several of her pieces. (A few of which are in our Permanent Collection.) It was really a treat to here her talk about her work.

And today we painted tiles at First Street Gallery. I think McKenzie is going to post about that soon, so I'll let her tell you about it. When we aren't busy traveling around and meeting exciting, new people, I've been working on planning the fall exhibit for the Clark Humanities Museum at Scripps. It's going to be a show that features several pieces from our Permanent Collection. I just finished my preliminary checklist and proposal today, but I'll post more information about the exhibit soon!

St. Michael Update!

In my last post, I mentioned that St. Michael's gilding would be finished in the next several days. And indeed it was; after nine long months of careful work, all of the remaining gold has been secured. And how it shimmers!

The next step is structural conservation. Tiffany, Donna, and I have already removed about a dozen metal handmade and machine-made nails from different areas of the sculpture. This step is incredibly important because St. Michael is carved from wood. Wood has a life of its own, breathing and moving with changes in climate. If anything is embedded in the wood that does not move in sync, cracks will result - and that is precisely what has happened to St. Michael. In the centuries since his creation, nails have been inserted to stabilize him, and in fact they have done just the opposite. Once most of the metal inserts are removed, we'll start in on consolidating fragments and breakage points. After that, the fragments can be reattached and St. Mike will be whole!

On Tuesday morning, we began the process of deciding what colors we'll need for the planned infills for areas of gilding and paint loss. Donna showed Tiffany and me how to add different pigments to a small amount of vinyl spackling to demonstrate each particular hue. Once the samples dry, we'll decide the different combinations necessary for matching the infill as closely as possible to the surrounding material. With the infills, from a distance the piece will appear as a complete and finished sculpture; as you get closer, it will be clear what has been conserved. This approach stays true to the original intent of the artist and takes into consideration the long, rich life of the piece.

On a last note, the sculpture's owner, Duffy Hecht, visited Scripps to see St. Michael on Tuesday. He has not seen the piece since it was in very bad shape, and this was a chance to show him how much work has been done. Furthermore, Duffy and Donna engaged everyone in a conversation about the future of the piece, i.e., where it will be located and how it will be displayed. It's so exciting to think that St. Michael will once again be (almost) whole and as impressive as ever!