Los Angeles Times article about my research and LA Art Labs: Saving art with Science

My research and LA Art Labs made it onto the front page of the LA Times! Here is an excerpt from the fantastic article by the talented Sonja Sholklapper:

When she began chasing Saturn Yellow, Korbela still worked full time at LACMA, splitting her days between Stella’s pieces and works by Yayoi Kusama, Joan Mitchell, John Singer Sargent, Rufino Tamayo and Pablo Picasso.

Now, she runs her own conservation company, LA Art Labs, and must wait for grants and squeeze tests in on the side — a process that will probably take months.

Even after all of that, the hunt for vintage Saturn Yellow might not be over.

“We will have to do more analysis to find those perfect matches,” Korbela said. “It’s a field that’s very much still in its baby shoes.”

X Kamila

Kamila Korbela, paintings conservator and researcher, in front of Bampur by Stella at LACMA
Paintings Conservator Kamila Korbela saves art with science.

Advanced Conserving Canvas Workshop at SRAL in Maastricht

I had the absolute pleasure to participate in the Getty’s Advanced Conserving Canvas Workshop in the Netherlands yesterday.

Conserving Canvas is an international grant initiative begun in 2018 that aims to ensure that critical conservation skills needed to care for paintings on canvas do not disappear.

http://www.getty.edu/foundation/initiatives/current/conservingcanvas/cc_grantsawarded.html

X Korbela

Conserving Canvas Symposium at Yale University

I just registered for the Conserving Canvas Symposium at the Institute for the Preservation of Cultural Heritage at Yale University. This will be the first major international gathering on the subject since 1974.

According to the organizers, the symposium will address historical approaches to the structural treatment of canvas paintings; current methods, materials, and research; and the challenges facing the structural conservation of modern and contemporary works.

With today’s field embracing minimal-intervention techniques and maintaining differing opinions on the efficacy of more invasive approaches, the symposium will provide a long overdue forum to reevaluate historical and current practices as well as inform future directions for the conservation of canvas painting.

http://www.getty.edu/foundation/initiatives/current/conservingcanvas/index.html

X Kamila

Frank Stella at LACMA

I had the absolut pleasure to treat one of the paintings in LACMA‘s upcoming Frank Stella show. LACMA is currently helping me to obtain a grant to continue the research I started on Stella’s early daylight fluorescent paintings. Stella used paints and pigments from the DayGlo Color Corp, which are now incredibly difficult to treat as no precedent is set on their treatment. My research, however, aims to provide the conservation community step-by-step instructions for treatment as well as guidelines for proper storage and exhibition.

Follow this link to learn more about LACMA‘s upcoming Stella show:

http://www.artfixdaily.com/artwire/release/3670-lacma-to-show-seminal-works-by-frank-stella-including-many-out-of

X Kamila

FAIC Award

I am humbled and honored to be this year’s FAIC Individual Professional Development Scholarship Award recipient.

My narrative report about the award will be published on the website of the American Institute for Conservation of Historic and Artistic Works (AIC) shortly.

AIC and it’s foundation are generously supporting conservation education, research, and outreach activities within the conservation community. With my recent shift to private practice I am particularly grateful to AIC’s support.

X Kamila

Award offer letter from the American Institute for Conservation.

Revealing the Secrets of a Master Flower Painter

I examined and restored a panel painting by the German-Dutch flower and still-life painter Abraham Mignon (1640-1679) at the Conservation Department of the National Gallery of Denmark during preparations for the exhibition Flowers and World Views.

The artistic quality of Mignon’s meticulously detailed works had disappeared under thick layers of yellowed varnish and discoloured overpaint. This project was an opportunity to remove the old restorations in order to reveal the virtuosity of Mignon’s works.

Read my entire story here by clicking on this link. 

X Kamila