Add MoMA conservators to the list of people who did not, in fact, go into 2016 with an idyllic, carefree existence. For a glimpse of the drama and stress that befell them, I quote here from their 2017 article in Object Specialty Group Postprints [pdf], published annually by the American Institute for Conservation, on the conservation of Untitled (1976), an unfired mud sculpture by David Hammons, which had just been donated to the Museum by AC Hudgins and family:
The work was first exhibited in 2015 for MoMA’s exhibition Take an Object (fig. 3). Its deteriorated condition was already a concern to the curator, conservators, and registrar, so they had it installed under a custom Plexiglas bonnet. As the work was being deinstalled from the exhibition that a small clump of mud fell from the sculpture and landed on its base. This event, in addition to the work’s condition, led us to question its overall structural stability and basic conservation maintenance plan. So precarious was the
piece that the slightest vibration caused the cone to sway, creating a cloud of dust. Moreover, a large crack exposed an interior wooden dowel.
The report captures the history of caring for an unfired clay object; the considerations of treating an artwork vs. a cultural or religious artifact; the test replica-making process; and, most entertainingly, the fascinating challenge of working with a living artist who is perhaps best known for his disinterest in art world conventions. The title, “Do what’s right,” turns out to be the entirety of Hammons’ input to the Modern’s conservation team. I hope they put it on some tote bags.
Thanks to the gentle, offsite querying of Hudgins, a longtime Hammons friend and MoMA trustee, it was learned that Untitled was cast in a traffic cone. And as they theorized from studying their replica, yes, many of the black-eyed peas inserted into the soft mud had popped out soon after it dried.
To find out what conservators did with the fallen clumps and cracks, and to see photos of Untitled‘s new custom crate, read the report. The only spoiler I have to share is that not only is the Hammons on MoMA’s No Travel list, it is “currently one of only four sculptural works at MoMA that cannot be transferred to storage in Queens.” And now I wonder what the other three are.
“DO WHAT’S RIGHT”: THE CONSERVATION OF A DAVID HAMMONS MUD SCULPTURE, OSG Postprints, 2017 [culturalheritage.org]