Congratulations to Kopeikin Gallery (formerly Paul Kopeikin Gallery) on the re-opening of the gallery in a new architectural space at 8810 Melrose Avenue in Los Angeles. A grand re-opening reception is set for this Saturday January 24th from 6-9 PM, coinciding with the West Hollywood Winter 2009 Art Walk. Known for their focus on fine art photogaphy, this new gallery will allow for expansion into exhibitions of water colors and works on paper in as well as providing an overall space some three times larger than their former location on Wilshire BL. The gallery is a long time customer of Fine Art Shipping and we send them our best wishes for a smashing start to the new year in their new space.

Here’s a link to the gallery’s website with details of their two upcoming shows and further contact information: http://kopeikingallery.com/

Betsy Dorfman

FINE ART SHIPPING

A recent Washington Post article (http://www.washingtonpost.com/wp-dyn/content/article/2009/01/07/AR2009010702804.html?referrer=emailarticle) notes that the coat President Lincoln was wearing when shot by actor John Wilkes Booth has been deemed too delicate to be placed on public display at historic Ford’s theater. So the public will get to see a “replica”, aka a fake, instead. With or without ersatz presidential bloodstains. However for a few special occasions each year the embroidered coat will be brought out from storage and exposed to the, apparently highly damaging, gaze of the great unwashed.

On the surface this seems to make sense, given that textile experts have expressed concern over the deteriorating condition of the garment over time. I am not a textile expert but common sense suggests that it is in the nature of textiles to degrade. Hence, lint. But then comes this sentence: “But some textile conservators expressed concern, saying the coat was too old, too fragile and too famous for long-term display.” Really? In what way does being famous degrade an object? And even in storage the coat is still going to be old, and fragile, and valuable, these factors not being reversible.

There is just too much here in fact that does not make sense. First, current climate control technologies can protect all sort of objects from environmental insults, including light and atmospheric conditions. Museums do this all the time. In essence, the same conditions that will protect the item in storage can protect it while on public view. This has been done with rarities including, not far away, the U.S. Constitution which is on display at the National Archives in Washington DC. So the too delicate etc. argument is hooey.

Next comes the delicious part about bringing the bloodstained coat out of storage and putting it on display for special occasions such as the anniversary of Lincoln’s death. Again, really? Anyone in the fine art handling and shipping world, and all insurers of such commodities, can attest to the fact that objects are at increased risk each time they are moved and handled. Insurers correctly charge more to cover items in transit over items in stable storage. So in order to preserve the coat they are NOT going to house it in a permanent and stable display environment, they are going to pack and unpack it several times a year, schlep it to and fro from wherever and put it up on view for a day or a few days under conditions that are not going to be ideal.

The Theater is spending $50 million on a renovation which, when completed, will include a new gift shop but will not include a proper installation for climate controlled and secure display of arguably the single most historic artifact in their possession. And the one which, presumably, would draw the highest number of visitors to shop in the….you get the point.

For $50 million I suggest they take the whole theater apart and put it into storage for safekeeping. My company will be the first to offer space in our climate controlled warehouse to accommodate the pieces. Each piece will be numbered and the theater can be reassembled in the future when an enlightened public has reclaimed its history from the curators.

Betsy Dorfman

Back in 1999 FINE ART SHIPPING had the pleasure of collaborating with sculptor Robert Graham to arrange shipment of a major work to Kansas City. Dubbed “the big head” by our staff, this was indeed a huge bronze sculpture of the head of jazz great Charlie “Bird” Parker, shipped for the opening of the American Jazz Museum in Kansas City. Here is a link to more information on the Charlie Parker Memorial.

The shipping was a major undertaking and Mr. Graham kept his cool even as the enormous sculpture was craned from a site near his Venice CA studio into a waiting semi trailer. Given the dimensions of the sculpture this fit into the truck by the proverbial whisker, and the tolerances did not allow for the sort of “bullet proof” crating we would like to have done. So there were a few anxious moments as “Bird” swung near the sides of the truck before settling in nicely for the trip to Kansas City.

During preparations for this move and subsequent smaller shipments for his studio we developed a sincere appreciation for the depth and variety of his work and the professionalism and courtesy of his staff. Our condolences to his friends and family from everyone at FINE ART SHIPPING.

Betsy Dorfman