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| + | It is mid-June on the West Side of Chicago, and a dozen or so people are standing around what looks an awful lot like an automobile encased in concrete. Pockmarked at multiple points on its surface, blotchy in others, the structure is under a protective canopy. The people, mostly, are not. "We don't want to bring any more original material in danger," says Christian Scheidemann, an expert in conserving art made from unusual substances. "I think we have to be very sensitive here about these bumps." "There's a natural area here you can patch against," says Amanda Trienens, a specialist in concrete restoration. "But you have to consider where you stop." Hannah Higgins, a University of Illinois at Chicago art historian, says, "I think it's important to leave real visual evidence of what was patched, even if it's a bad patch." The conversation continues in this vein: Sober talk about the nature of sand and concrete, the experts' level of happiness with patches on the rear of the structure, whether they should drill into the thing to take a core sample, and what is the right level of inflation for the tires on what is, in fact, a concrete-clad car. This is not just any vehicle rendered immobile with nearly 14 tons of a hardened sand, aggregate and cement slurry,cheap jordans for sale, however. It is a 1957 Cadillac DeVille that was entombed by German artist Wolf Vostell, a leader of the Fluxus movement, in a 1970 public performance near the old site of Chicago's Museum of Contemporary Art. And on Friday the Caddy will revisit that site as part of a procession that will see the sculpture returned to its second and longest-standing home, the University of Chicago campus. That parade will mark the end of a five-year,cheap jordans, roughly $500,000 rediscovery and restoration process that began with a Chicago art history professor asking herself what public art the university owned. It will also be the catalyst for a series of programs in the next year under the banner Concrete Happenings, meant to make people think about public art. Prominent among these is a Vostell exhibition at the university's Smart Museum of Art in January. MOST READ ENTERTAINMENT NEWS THIS HOUR The work, entitled Concrete Traffic, is, in fact,cheap air jordans, the largest remaining artifact of Fluxus, a largely performance-based movement that counted Yoko Ono among its associated artists. But for now, in June in Humboldt Park, it's also a not-street-legal 32,400-pound shapely slab deteriorating out behind an art handling shop, its home since it was moved from the U. of C. campus in 2009 to make way, ironically, for a new arts center. It is a work of art that people can lean on as they discuss its conservation. Somebody brings up the "Bumstead patches," so named for a university landscaper who tried to do some repair work years ago, the removal and replacement of which is a key part of the restoration process. Somebody else wonders aloud about whether Jimmy Hoffa might be inside. "You're not the first person to say that," says Anna Weiss-Pfau, the U. of C.'s campus art coordinator. "Oh, God, I'm dying to see the inside of the car," says Higgins. "I want to know what happened to the car seat material. There could be a whole ecosystem in there." "Yuck," responds one of the eminent conservators. As the focus moves to the bottom of the car, the debate becomes about how much tire should be showing when the sculpture gets remounted, how much was originally showing and whether the steel undercarriage built for the piece will need to be redone. But maybe they're being too fussy? "We're art historians,cheap jordans for sale," Higgins points out, "not normal people." It was an art historian who got this whole project rolling. Christine Mehring was in her fourth year at Chicago when, in September 2011, the provost put her in charge of a faculty committee, the University Committee on Campus Planning. "I said, 'Well, it would be nice if we started paying attention to public art. What do we have anyway?'" she recalls. She heard about the car sculpture that had been moved from a campus sculpture garden ?? right in front of the studio where the sculptor Lorado Taft worked ?? to make way for the gleaming new Logan Arts Center, and she drove to Humboldt Park to have a look. It was a moment both exciting and sad, as she describes it. "It looked awful," she says. "There were big patches of concrete missing. That's what was so overwhelming." At the same time, she knew what she was looking at, more or less. German herself, she had written about post-war German art and recognized Vostell's style. "It was a really important work," she says. "I think I was absolutely exhilarated. Wow." She had a thought that proved, she allows, naive: "Early on, I thought it would be cheaper to conserve it than to keep paying the storage fee." But she started scraping together money to look into restoring it. The school's Neubauer Collegium for Culture and Society got behind the project, including with early grant money. A conservation team came together in a manner that sounds a little like the way the team is assembled in a caper movie, except without Matt Damon. She reached out to Scheidemann, she says, because of his work with extraordinary materials. It was a perfect fit: "He came out, and we immediately started arguing about what needs to be done," she says. Trienens, the concrete specialist, came on. Two engineers, "the art structural engineer and the historic structural engineer," Mehring says. MCA staff, who found documentation on the original fabrication of the piece,cheap jordan shoes, fundamental to settling questions about how best to restore it. Also joining the team were university conservators and scholars. Higgins, from UIC, "the daughter of Alison Knowles and Dick Higgins, who are key, key Fluxus artists,cheap air jordans," says Mehring. An architect to help them keep the big picture in mind. A classic car expert. The car guy, she says, told her, "Wow, this Cadillac is in better condition than it would have been if it had sat on the street." That's probably doubly true when you consider that it was purchased for the art project for just $89. "That completely fits in with Vostell's thinking about the sculpture, which we know was a kind of mummification for him of an object of industrial civilization. It's a completely violent gesture but at the same time it's preserving it," says Mehring.<ul> | ||
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