Jim Coddington at work on Jackson Pollock’s One: Number 31, 1950 in the Conservation Studio at MoMA
I’ll be talking with Jim Coddington, the Chief Conservator at the Museum of Modern Art in New York, this Friday evening, November 20, at 9:00 p.m. about his extensive experience with the work of Jackson Pollock. We’ll be discussing the materials and techniques Pollock used in his paintings, the ways in which those materials have aged and changed over the years, and how conservators approach the preservation challenges that Pollock’s works present.
For a preview of some of the topics that we’ll touch upon, you can have a look at the “Jackson Pollock Conservation Project” blog posts that Jim has been making over the past few years.
MoMA has generously lent Echo: Number 25, 1951 to the Dallas Museum of Art for the Jackson Pollock: Blind Spots exhibition, opening Friday, November 20:
Jackson Pollock, Echo: Number 25, 1951, 1951, enamel on canvas, The Museum of Modern Art, New York, Acquired through the Lillie P. Bliss Bequest and the Mr. and Mrs. David Rockefeller Fund, © 2015 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York
Jim carried out technical studies and conservation treatment on Echo, and we will be discussing some of the details of that work during our Late Night conversation. Here is a photo of the reverse of Echo during its treatment, with the stretcher removed, which reveals darkening of the canvas where it had been in direct contact with the wood stretcher support:
In addition to a behind-the-scenes look at the conservation treatments that Jim has undertaken, we’ll also examine Pollock’s working methods. Jim and his colleagues at MoMA have done pioneering analytical studies of Pollock’s materials and techniques, lending new insight into our understanding of this extraordinary artist’s work. Join us this Friday at the DMA!
Source: MoMA.org
Mark Leonard is the Chief Conservator at the DMA.