September 12, 2023 | 5:30 pm – 6:30 pm
Immerse yourself in a behind-the-scenes tour of the Helen Hope Fine Art Conservation studio led by Helen Houp herself. We will see artwork in the process of being treated, discuss the different techniques Helen uses, and the difference between conservation versus restoration. This is a unique opportunity to see a conservation studio up close. Please note, it is limited to 10 members only.
Confusion sometimes arises over the terms conservator and conservation and restorer and restoration. In conservation, it’s of paramount importance that in treating a work that the intent of the artist is preserved. Conservators use reversible materials in their treatments, provide narrative reports on the condition of the work as received and the treatment procedures employed with supporting photographs. The practice of conservation involves a thorough examination, scientific analysis, and research to reveal the materials employed in the execution of the work and the extent of the damages present. Based on these findings a regimen of conservation treatment is determined. Traditionally, restorers have not been guided by the principles as stated above. Their emphasis is placed on what may be a short term rejuvenation rather than the long term preservation of the work of art.
Admission:
- ArtTable Members – $15
- Guests – $25
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Image credit:
About the Conservator:
Helen Houp is a paintings conservator with over 30 years experience preserving works of art. Following her graduation from the University of California, Santa Barbara she joined the conservation staff of the Kimbell Art Museum, Fort Worth, Texas and there received training in painting conservation. Since 2001, she has conducted a private conservation practice from her 2200 square foot studio/lab in Dallas, Texas. She has treated paintings from diverse eras and movements, works by Rembrandt to Rauschenberg and works from the folk to the contemporary art genre. In addition to the conservation treatment of the work of well known artists, she has treated the paintings and murals of distinguished regional artists and the treasured heirlooms of individuals as well. Her clients include major art museums, institutions of higher learning, corporations, art dealers, ardent collectors, and individuals. In addition to the treatment of paintings, accomplished conservators associated with Helen A. Houp Fine Art Conservation assist in the conservation of objects, photographs and works of art on paper. helenhoup.com
Kelly Freeman directs AMP’s suite of art fairs, sourcing and placing domestic and international galleries. She develops special projects and exhibitions – opportunities to appeal to a high end, collecting audience, shaping unique spaces and events to retain visitors year after year. Kelly also oversees all marketing and communications, focusing on reaching the right audience for each event. Kelly also consults across AMP immersive events business, working to develop strong content and drive quality attendance.
Jacqueline is a leading Auctioneer and auction house specialist, who holds the position of Vice-President, Specialist in the Contemporary Art Department at Sotheby’s New York . She was previously Auctioneer and Vice-President, Director of Post-War & Contemporary Art at Bonhams Auctioneers. In her five year tenure, Jacqueline was involved in some of the company’s most important sales and events, including the previously unseen single-owner sale ‘Kusama: The Collection of the late Dr Teruo Hirose’; the sale of the first mural by Keith Haring to ever come to market; the department’s first curated selling exhibition, and the exhibition of the collection of visual arts patron and hip-hop icon Q-Tip from A Tribe Called Quest.
Christine Berry and Martha Campbell opened Berry Campbell Gallery in the heart of Chelsea on the ground floor in 2013. The gallery has a fine-tuned program representing artists of post-war American painting that have been overlooked or neglected, particularly women of Abstract Expressionism. Since its inception, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to age, race, gender, or geography. This unique perspective has been increasingly recognized by curators, collectors, and the press.
Dr. Tania Aparicio (she/her) is a full-time lecturer in the Arts Administration Program at Teachers College-Columbia University. Using ethnographic and archival methods, her research has focused on the study of cultural production, cultural organizations, and cultural workers–with particular attention to the dynamics of inequality in art worlds. In particular, she has conducted a comparative investigation of the effects of unionization in arts organizations and how it shapes racialized and gendered relations in the workplace. Her research has been supported by the Mellon Foundation, Fulbright Program, Institute for Critical Social Inquiry, and Janey Program in Latin American Studies. At The New School she completed her doctoral degree thanks to a Dean’s fellowship and a dissertation award.
Partner LaKeisha M.A. Caton is a member of Pryor Cashman’s Labor + Employment and Litigation Groups, and combines her comprehensive litigation background with a focus on employment-related matters to bring results to clients across the globe. Having represented both management and executives in discrimination and harassment cases, LaKeisha brings her extensive knowledge of the law as well as her familiarity with the strategies often adopted by the opposition to every engagement. She leverages her comprehensive experience with federal, state, and local discrimination law and her background in litigation and dispute resolution to achieve favorable outcomes on behalf of her clients.
Gillian is a sociologist of inequality, art, and work. In 2018, she received her PhD in Sociology from the University of California, Berkeley, where she wrote a dissertation focused on understanding how gender and ethno-racial inequality shape the work experiences of cultural entrepreneurs, especially chefs, under the direction of two of the leading scholars in feminist theory and work. Alongside her dissertation research, Gillian worked closely with several campus offices to conduct program evaluation research related to sexual harassment and sexual violence prevention education on campus. After completing her PhD, she was a Dean’s Fellow at NYU, where she continued her research focused on inequality and artistic labor and completed several consulting projects for the university focused on diversity, equity, and inclusion recruitment and retention efforts at the university.