Conservation Outreach
Lectures
The Falsification of Time
October 6, 2016 at the Whitney Museum of American Art
Carol Mancusi-Ungaro presented her revised Forbes Prize lecture delivered at the IIC Conference Congress the previous month. Yve-Alain Bois, Professor of Art History at the Institute for Advanced Study, joined Mancusi-Ungaro in conversation after the lecture.
The Falsification of Time
September 12, 2016 at The International Institute for Conservation of Historic and Artistic Works (IIC) Congress
Carol Mancusi-Ungaro delivered this lecture after being awarded the Forbes Prize for outstanding work in the field of conservation at the IIC Congress, held in Los Angeles, California.
Innovative Conservation Collaborations
May 6, 2013 at the Annual Meeting of the Association of Art Museum Curators
Matthew Skopek participated on a panel during the 12th annual meeting of AAM.
The Replication Committee: A Collaborative Effort to Address the Role of the Replica at the Whitney Museum of American Art
June 10, 2013 at the Institute of Fine Art at New York University
Matthew Skopek was a lecturer at the Summer Institute in Technical Art History.
Whom Do We Fail?
December 6–8, 2013 at Hamburger Kunsthalle
Eleonora Nagy gave a lecture as part of "Fail Better: Verband der Restauratoren Symposium about Conservation Practice and Decision Making in Modern and Contemporary Art."
Donald Judd: The Multicolored Works: A Conservator’s Approach to Color and Color Science
October 19, 2013 at The Pulitzer Foundation of Arts
Lecture delivered by Eleonora Nagy.
Remediation of Impact Damage on Modern And Contemporary Sheet Metal Sculpture: Conservation Treatment of Donald Judd’s Stack
September 16-20, 2013 at the ICOM- Metal Interim Conference, Edinburgh, Scotland
Lecture presented by Eleonora Nagy and W. Zahner.
Cues from Cy Twombly
April 17, 2013 at the Institute of Fine Arts, New York University
Lecture presented by Carol Mancusi-Ungaro, the Institute of Fine Art’s Judith Praska Distinguished Visiting Professorship in Conservation and Technical Studies.
Twenty Years of documenting the Artist’s Voice
March 7-8, 2013 at the Solomon R Guggenheim Museum, New York
Carol Mancusi-Ungaro was a key speaker at the International Network for the Conservation of Contemporary Art – North America (INCCA-NA) Artist Interview Methodology Workshop.
Conversation about Barnett Newman
September 24, 2011 at the Rothko Chapel, Houston, Texas
Lecture presented by Carol Mancusi-Ungaro related to the history, presence and preservation of Newman’s sculpture Broken Obelisk, which stands in a reflecting pool south of the Rothko Chapel’s main entrance.
The Elusive Original
February 22, 2011 at the Institute of Fine Arts, New York University
Carol Mancusi-Ungaro spoke as part of the Daniel H. Silberberg Lecture Series program.
Barnett Newman
October 16, 2010 at the Kawamura Memorial Museum of Art
Carol Mancusi-Ungaro lectured about Barnett Newman and the discoveries made during the process of compiling his catalogue raisonne.
Collection Documentation Initiative: Conservators’ Perspective
September 18, 2010 at the Western Association for Art Conservation, Seattle, WA
Whitney contract conservators Claire Gerhard and Megan Berkey presented a paper at WAAC’s annual meeting with an overview of their 3-year project reviewing the Whitney’s17,000 works of art on paper and photographs.
Is Art Timeless?
April 22, 2010 at Smith College, Northampton, MA
Carol Mancusi-Ungaro gave a lecture at the symposium “Telling Time: It’s Meaning and Measurement.”
The Ultimate Painting
September 13, 2009 at the Solomon R. Guggenheim Museum
Panel co-moderated by Carol Mancusi-Ungaro as part of the symposium, "Imageless: The Scientific Analysis and Experimental Treatment of an Ad Reinhardt Black Painting."
Artist’s Voice: History’s Claim
January 24–16, 2008 at the Getty Center in Los Angeles
Panel moderated by Carol Mancusi-Ungaro as part of “The Object in Transition: A Cross-Disciplinary Conference on the Preservation and Study of Modern and Contemporary Art.”
Encountering Newman
January 24–16, 2008 at the Getty Center in Los Angeles
Lecture presented by Carol Mancusi-Ungaro and Yve-Alain Bois as part of "The Object in Transition: A Cross-Disciplinary Conference on the Preservation and Study of Modern and Contemporary Art."
Modern Paints Uncovered Symposium
May 16–19, 2006 at the Tate Modern in London
Narayan Khandekar presented research done by a team of Whitney conservators and Harvard scientists on the Whitney's Donald Judd, Untitled, 1965.
Publications
On Myth and Physical Fact
By Carol C. Mancusi-Ungaro, in Getty Research Journal: Examining Pollock: Essays Inspired by the Mural Research Project. Number 9, Supplement 1, 2017 (Los Angeles, CA).
Re-thinking the cleaning of Claes Oldenburg’s Floor Cake (Giant Piece of Cake)
By Margo Delidow and Cynthia Albertson, in the American Institute for Conservation of Historic and Artistic Works. Objects Specialty Group Postprints, Volume 17 (2010).
The Conservation of Christo/Paik Wrapped TV (1967): Documentation and Treatment of a Collaborative Artwork
By Margo Delidow, Jessica Pace and Eric Meier, in the Journal of the American Institute for Conservation, Volume 55, Number 4, (November 2016).
Remediation of Impact Damage of Modern and Contemporary Sheet Metal Sculpture: Conservation Treatment of Donald Judd’s Stack
By Eleonora E. Nagy and William Zahner in In print; ICOM-CC Metals 2013 (Edinburgh, Scotland, 2013).
Disfiguring organic residues on industrially produced sheet metal coupons simulating copper and brass works of art by Donald Judd: attenuated total reflectance Fourier transform infrared spectroscopy analysis and treatment recommendations
By Eleonora E. Nagy, Karlis Adamsons, and Kate Moomaw in Studies in Conservation (January 2013).
Cues from Cy Twombly
By Carol C. Mancusi-Ungaro in Cy Twombly Gallery, The Menil Collection (Houston, TX, 2013).
Disfiguring organic residues on industrially produced sheet metal coupons simulating copper and brass works of art by Donald Judd
By Eleonora E. Nagy; Karlis Adamsons; Kate Moomaw in Studies in Conservation (January 2013).
When Material Becomes Art
By Carol C. Mancusi-Ungaro in Jay DeFeo: A Retrospective, Whitney Museum of American Art (New York, NY, 2012).
Landmarks Preservation: Conserving the Monochrome
By Carol Mancusi-Ungaro in Artforum (Summer 2011).
Treatment of Claes Oldenburg’s Ice Bag—Scale C, An Interdisciplinary Approach
By Eleonora E. Nagy, Steven Berger, Ken Parker, Vladimir Schuster, Julian Miller, Jan Girard, and Carol Mancusi-Ungaro in International Council of Museums, Committee for Conservation, 16th Triennial Conference Abstract (Lisbon, Portugal, 2011).
Le Pèlerinage en Peinture de Barnett Newman
By Carol C. Mancusi-Ungaro. in Barnett Newman Écrits, Éditions Macula (Paris, France, 2011).
Treatment of Donald Judd’s Untitled 1977: Retention of Original Acrylic Sheets
By Eleonora Nagy, Bettina Landgrebe and Shelley Smith in American Institute for Conservation of Historic and Artistic Works (Philadelphia, 2011).
Delicate Matter: Two Conservation Case Studies on the Work of Paul Thek
By Eleonora E. Nagy with an introduction by Carol Mancusi-Ungaro in Paul Thek: Diver, A Retrospective, Whitney Museum of American Art (New York, NY, 2010).
A Technical Analysis of Three Paintings Attributed to Jackson Pollock
By Narayan Khandekar, Carol Mancusi-Ungaro, Harry Cooper, Christina Rosenberger, Katherine Eremin, Kate Smith, Jens Stenger and Dan Kirby in Studies in Conservation; The Journal of the International Institute for Conservation of Historic and Artistic Works. Volume 55, Number 3 (London, England, 2010).
Guidelines for the Care and Handling of Donald Judd’s Works in Metals
By Eleonora Nagy (2009).
Online manual for recommendations regarding care and handling of Donald Judd’s metal works
Golden MSA Colors
By Matthew Skopek in Painting Conservation Catalogue, Volume III: Inpainting, American Institute of Conservation, 2009.
A Sum of Corrections
Carol C. Mancusi-Ungaro in Jasper Johns: An Allegory of Painting, 1955-1965, National Gallery of Art (Washington, D.C., 2007).
Material and Process: Gordon Matta-Clark’s Object Legacy
By Christian Scheidemann in Gordon Matta-Clark: You are the Measure, Whitney Museum of American Art (New York, NY, 2007).
The Re-restoration of Donal Judd’s Untitled, 1965
By Narayan Khandekar, Eleonora E. Nagy, Julian Miller, Pia Gottschaller, and Carol Mancusi-Ungaro in Modern Paints Uncovered, The Getty Conservation Institute (Los Angeles, CA, 2006).
Matthew Barney’s Stadium; A Treatment of Replacements
By Margo Delidow, Roger Griffith, Scott Gerson, Plastics: Looking at the Future, Learning from the Past, edited by Brenda Keneghan and Louise Egan. Archetype Publications (London, 2008).
calder's Once and Future Circus: A Conservator's Perspective
By Eleonora Nagy and Carol C. Mancusi-Ungaro, in Alexander calder: The Paris Years, 1926–1933, Whitney Museum of American Art (New York, 2008).
The Rothko Chapel Paintings: A Personal Account
By Carol C. Mancusi-Ungaro, in Image of the Not-Seen: Search for Understanding, The Rothko Chapel Art Series, The Rothko Chapel (Houston, 2007).
Marden’s Materiality: The Monochromes
By Carol C. Mancusi-Ungaro, in Plane Image: A Brice Marden Retrospective, The Museum of Modern Art (New York, 2006).
The Re-restoration of Donald Judd's Untitled, 1965
By Narayan Khandekar, Eleonora Nagy, Julian Miller, Pia Gottschaller, and Carol C. Mancusi-Ungaro, Modern Paints Uncovered, The Getty Conservation Institute (Los Angeles, CA, 2006).
Material and Method in Modern Art: A Collaborative Challenge
By Carol C. Mancusi-Ungaro, in in Scientific Examination of Art: Modern Techniques in Conservation and Analysis, National Academy of Sciences (Washington, D.C. 2005).
In Search of Permanence: Oscar Bluemner's Materials and Techniques
Ulrich Birkmaier, in Oscar Bluemner: A Passion for Color, Whitney Museum of American Art (New York, 2005).
The Paintings of Barnett Newman: "Involved Intuition on the Highest Level"
By Carol C. Mancusi-Ungaro, in Barnett Newman: A Catalogue Raisonné, The Barnett Newman Foundation and Yale University Press (New York, 2004).
Embracing Humility in the Shadow of the Artist
By Carol C. Mancusi-Ungaro, in Personal Viewpoints: Thoughts on Painting Conservation, The Getty Conservation Institute (Los Angeles, 2003).
Time and Change: A Discussion about the Conservation of Modern and Contemporary Art
By Carol Mancusi-Ungaro, Jim Coddington, and Kurt Varnedoe, moderated by Jeffrey Levin in Conservation: The Getty Conservation Institute Newsletter. Volume 17, Number 3 (Los Angeles, 2002).
Jackson Pollock: Response as Dialogue
By Carol C. Mancusi-Ungaro in Jackson Pollock: New Approaches, edited by Kirk Varnedoe and Pepe Karmel, Museum of Modern Art (New York, 1999).
Material and Immaterial Surface: The Paintings of Rothko
By Carol C. Mancusi-Ungaro, in Mark Rothko, National Gallery of Art (Washington DC, 1998).
Nuances of Surface in the Rothko Chapel Paintings
By Carol C. Mancusi-Ungaro, in Mark Rothko: The Chapel Commission, The Menil Collection (Houston, 1996).
In the News
"The Custodians: How the Whitney is transforming the art of museum conservation."
—The New Yorker
"No Preservatives | Preservation, Perfection and Patina: Eleonora Nagy Discusses Conserving Judd’s Art"
—Art21
Audio: "Conserving Digital Art"
—WNYC, The Leonard Lopate Show
"Material & Method in Modern Art"
—NYU Institute of Fine Arts, Newsgram Issue 28
"Retter für Kaputte Kunst"
—GEO Magazin
Audio: "After Decades In Storage, Damaged Rothko Murals Get High-Tech Restoration"
—NPR, All Things Considered
Video: "Restoring Rothko"
—Tate
Video: "Using Science to Preserve Art"
—The New York Times
“The Improvised Remedies of an Art Healer”
—The New York Times
"Art Pick: Tale of the Tape"
—The New Yorker
"A Low Cost Show Reinflates a Big Bag"
—The New York Times
"Going Softly Into a Parallel Universe"
—The New York Times
"With a Coat of New Paint, Revealing the True Judd"
—The New York Times
“'What Happens when I die?' The Whitney Museum is interviewing artists on video to document their instructions for the conservation of their art"
—The Art Newspaper (International Edition)
“Chiedere agli artisti come conservare le loro opre d’arte”
—la Repubblica/The New York Times
“Giving the Artists a Voice in Preserving Their Work”
—The New York Times