Given previous requests, I thought I’d throw up an example of a maintenance plan for a city in Southern California. Our arrangements are customized to meet the needs of the community. This particular maintenance proposal was only two pages but they wanted to include our background etc so it follows…
ID Details of mural(s)
ID Details of requesting community contact
A request has been made for a 25 year maintenance plan for public art. In response, this proposal is respectfully submitted and includes:
- • Action plan for ongoing maintenance of public art
- • Coordination of efforts with other community organization(s)
- • Background information (expertise)
- • Capability Statement of similar work
Action plan for ongoing maintenance of public art for the next 25 years (through 2044)
- • It is proposed that the public art mural mentioned above, after it has received a protective final varnish coating, be visited and inspected by FACL 3 times per year for inspection. The inspection will be done in cooperation with the City’s Arts Alliance.
- • Each inspection will be a careful per square foot examination to make sure its condition is stable.
- • One of the visits will include a wipe down of the mural in order to look its best, with the cooperation of the Arts Alliance.
- • This maintenance contract also includes the removal of 1 moniker (graffiti) under 3’ x 3’ per year, with the cooperation of the Arts Alliance. Any other graffiti removal will be an extra charge.
- • If the mural should be tagged, FACL will arrange and administrate, with the cooperation of the Arts Alliance, removal of the graffiti from the public art (after City approval) within 10 days. No other graffiti removal service will be employed, utilized, subcontracted by the city or the Arts Alliance.
- • The protective varnish layer should not require modification (for the 25 year period) unless abused or unusual conditions (storms etc) produce damage.
- • The yearly fee does not include any restoration or preservation treatments that may need to be undertaken such as:
- o Stabilization of damage.
- o Restoration of damage.
- o Removal of graffiti.
- o Recoating with varnish, in part or generally, of the mural.
The proposed yearly fee for this public art maintenance service is $5,000.00 plus expenses payable in a single yearly billing and payment.
This agreement will be in force for 5 years before reviewing its terms.
FACL, Inc. agrees to be available and responsive for 25 year’s service commitment (through the end of 2044). The conservation lab has a wide geographical reach with several capable professionals.
Coordination of efforts with other community organization(s)
At this time, only the City’s Arts Alliance is known to have an administrative interest in this public art mural and FACL is willing to work with them on this matter. If there are other city offices or officials that will be involved, FACL will be open to working with them as well.
Fine Art Conservation Laboratories Background Information (expertise)
And Capability Statements of Similar Work
Scott M. Haskins
Conservator of Fine Art Resumé
January 1986 to Present: FACL, Inc. (Fine Art Conservation Laboratories) in Santa Barbara, California. Director, Chief Conservator of facility which specializes in the conservation of easel paintings (panel, fabric), murals (affresco, tempera, oil), works of art on paper and period frames. FACL, Inc. performs services for clients throughout the United States. The moveable artwork is treated in the 3,500 sq. ft. Santa Barbara laboratory. On-location projects (murals, surveys) are performed each year. The laboratory is equipped with an 8′ x 12′ hot table, an 6’ x 9’ suction table, polarizing microscope and an infrared reflectometer. An extensive amount of consultation work is performed including collection surveys, authentication studies, expert witness services.
February 1984 – January 1986: Chief Paintings Conservator for Art Conservation Laboratories of Santa Barbara, Inc. a privately funded regional conservation lab servicing collections throughout California. Director of all conservation procedures for paintings and paper including treatments, documentation, research.
September 1978 – February 1984: Conservator of Fine Arts at Brigham Young University, Provo, Utah. The facility primarily serviced the Permanent Art Collection of BYU and the Museum of Church History and Art of the Church of Jesus Christ of Latter-Day Saints in Salt Lake City, Utah. Responsibilities included the organization of the new 3500 sq. ft. lab in 1978, administration of the program, Chief Conservator, head of Conservation Committee, participant on the Acquisitions Committee.
1976 – 1984: Private practice in addition to full time commitments. Extensive service was rendered to the following collections:
State of Utah Art Collection, Utah Arts Council, SLC, UT.
Springville Museum of Art, Springville, UT.
Daughters of the Utah Pioneers Museum, SLC, Utah
Cavriana Archaeological Museum, Cavriana, Italy
Montini Family Collection, Pope Paul VI, Lumezzane, Italy
ENAIP Foundation, Botticino, Italy
October 1977 – October 1978: Internship at Ex Monastero della Trinitá Museum. Worked on affrescos, panels and canvases under Mr. Paolo Bacchin, Conservator (ICCROM, UNESCO).
October 1975 – October 1978: Three year art conservation program at Lombardy regional conservation center, Ente Nazionale A.C.L.I. Istruzione Professionale, in Botticino (Brescia), Italy. Program recognized and supported by the Istituto Centrale del Restauro (ICR) in Rome. Instruction emphasis on easel paintings, affrescos (murals) and polychromed sculpture. Degree awarded with honors.
For a news article featuring Scott M. Haskins’s, Click here: https://www.fineartconservationlab.com/media-room/art-restorerconservator-scott-m-haskins-featured-in-life-section-of-newspaper/
Special Advanced Studies
2007 – Advanced cold lining updates workshop with Vishwa Mehra and Matteo Rossi Doria. One week workshop, updates, research with senior conservators in Skaneatelous, NY
1991: Conference on suction table technology and use. One week seminar at the Conservation Analytical Laboratory at the Smithsonian Institution in Washington, D.C.
1984: In addition to the experience of gilding while in Italy (frames and polychromed sculpture), advanced experience in gilding with Mr. William Adair of Gold Leaf Studios, Washington D.C. have taken place many times since 1984 in the form of workshops and actual conservation/gilding projects.
1979 and 1981: Microscopy for Art Conservators, McCrone Research Institute. Week of studies centered on the use of the polarizing microscope for the identification of pigments, fibers and other materials.
1978 – 1984: While at Brigham Young University, began studies on the preservation of works of art on paper. Worked on pastels, watercolors, engravings and sketches from the Mahonri M. Young Collection at BYU. Periodic collaboration was given by the Paper (Book) Conservation Laboratory at the Harold B. Lee Library and by extended visits by Mr. Joe Nkruma, Paper Conservator of the Kunstmuseum, Bern, Switzerland.
(AIC) American Institute for Conservation of Historic and Artistic Works (AIC)
2008 to 2017 Board of Directors Conservators in Private Practice (CIPP)
1993 – 94 CIPP, Chairperson
1990 – 93 CIPP, Vice Chairperson, Program Chairperson
Since 1978 Associate Member, International Institute for Conservation (IIC)
Since 1978 Member, Western Association for Art Conservation (WAAC):
1984 – 85 Board of Directors
1983 – 84 President
1982 – 83 Vice President
Shroud of Turin Research Project, Consultant and Participant
Institute of Museum Services (U.S. Gov’t) grant proposal reviewer
Full 12 page review of Mural Conservation Capabilities
What People Are Saying About FACL
Publications and Seminars Presented
Experience as Expert Witness – Legal Testimony
FACL Consultation Services
National Trust for Historic Preservation Award
Los Angeles Times Calendar Section Cover
2015 Heritage Award for State of Idaho, Minerva Teichert Murals, Montepelier, ID Click here
2005 Preservation Dallas, award for professional preservation from the City of Dallas, Texas for art mural conservation services rendered at Fair Park, Dallas Texas Click here
2003 Historic Preservation Award from the State of Texas for professional mural conservation services rendered at Fair Park, Dallas Texas Click here
October 2, 2003: National Trust for Historic Preservation Award , National Preservation Award which is the highest award for professional preservation from the United States Government for services rendered to the Fair Park, Dallas Texas Click here
Public Art Assessment Services
These consultation services include surveys/assessments, consulting and planning for the care and treatment of murals (outdoor and in historic properties) and sculpture maintenance (not conservation treatments); setting collection conservation/preservation priorities, long-range planning and short-range budget plans, evaluations of storage facilities and environmental needs, emergency preparedness and disaster response planning and research, insurance evaluations connected with emergency/damage surveys, grant preparation and applications, fundraising, expert testimony/ legal witness services. We provide these services on a continual basis, sometimes on a quick one-task basis and sometimes as a key player on a team for a long term project. Some of the more notable public institutional clients for these services have been (private entities and clients NOT included; treatments are listed on another submittal):
- • City of Los Angeles (2017 – 2020) – Public art mural conservation expert
- • US Army, Ft. Bliss, El Paso Texas -Mural conservation project planning
- • Santa Barbara Mission Archive Library – Deakin Missions of CA collection survey and conservation project planning
- • Federal Reserve Bank, Los Angeles, Phoenix (2016 – 2023) Collection survey, conservation treatments
- • Province of British Columbia (2017 – 2020) – Public art conservation expert
- ▪ Lonato (Garda Lake, BS), Italy – Mural conservation project planning, media and fundraising – Click for article
- • Palazzolo sull’Oglio, Italy – Mural conservation planning, media and fundraising PR development – $6 million project. Click to see short intro video
- • City of Lamesa, TX – mural project planning Click here to see short video
- • City of Beverly Hills, CA – Greystone Mansion
- • City of Cedar Rapids, Iowa – Murals, lighting, UV impact (link)
- • Caltrans (California State Highway Dept.) – Los Angeles Freeway Murals (link) Collection Survey
- • Mural Conservancy of Los Angeles Graffiti on Los Angeles Freeway Murals (link) Collection Survey
- • Texas Southern University -TSU Mural Collection (link) Houston, Texas – Collection Survey
- • City of Los Angeles, Community Redevelopment Agency, Cultural Arts Dept/Fund (Murals)
- • Banca d’Italia Development Dept., (Graffiti/street art mural conservation/restoration planning on massive real estate development), Verona, Italy
- • Japanese American National Museum (Painting Collection), Los Angeles, CA
- • National Park Service (Murals), United States Government
- • The General Services Administration (Murals), US Government, Washington DC
- • Department of Labor Expert Witness (link), United States Government
- • Dept. Of Transportation (Murals in historic post offices in Pennsylvania), United States Government
- • Ente Nazionale Per l’Istruzione ACLI, Botticino (BS) (Murals, Painting Collection), Italy
- • City of Dallas Monumental Murals (link), Texas Collection Survey
- • The Archdiocese of Los Angeles (Murals, Disaster Response)
- • Los Angeles Central Library (Monumental Murals and decorated surfaces), City of Los Angeles Collection Survey
- • Folger and Levin Law Firm, Botello v. Shell Oil Co. (1991) Expert Witness (link)
- • Saint Monica’s Church (Murals, Disaster Response), Santa Monica, CA
- • International Iberian Institute of Art (Painting Collection), Santa Fe, NM
- • Friends of Mexico Foundation (Murals, Analysis), Los Angeles, CA
- • El Pueblo de Los Angeles Historical Park (Murals, Analysis), CA
- • Getty Conservation Institute ( Murals, Analysis), Marina Del Rey, CA
- • The J. Paul Getty Museum (Paintings, Murals, Analysis), Malibu, CA
- • Los Alamitos Historical Park (Murals, Analysis), Long Beach, CA
- • Native Sons of the Golden West (Painting Collection), San Francisco, CA Collection Survey
- • Santa Barbara Museum of Art (Painting Collection), CA Collection Survey Collection Survey
- • University of California at Santa Barbara (Painting Collection), CA Collection Survey
- • Institute of Museum and Library Services, US Government, Washington DC – Consultant and reviewer for Collection Survey grant applications nationwide since 1986.
- • ENAIP Lombardy Regional Conservation Center (Murals, Painting Collection), Botticino, Italy
- • Santa Barbara Trust for Historical Preservation (Painting Collection), CA
- • Brigham Young University (Murals, Painting Collection), Provo, UT Collection Survey
- • State of Utah Art Collection, Utah Arts Council, Salt Lake City, UT Collection Survey
- • History Dept., Church of Jesus Christ of Latter-day Saints, SLC, UT Collection Survey
- • Daughters of Utah Pioneers Museum (Murals, Painting Collection), Salt Lake City, UT Collection Survey
- • Springville Museum of Art (Painting Collection), Springville, UT Collection Survey
- • The Shroud of Turin Project (Analysis), Getty Conservation Institute, Los Angeles, CA
- • Cavriana Archaeological Museum (Analysis), Cavriana, Italy
- • Museum of Ex-Monastero della Trinitá (Painting Collection), Botticino, Italy Collection Survey
FACL has provided, over the years, extensive mural conservation services over a wide geographical base. On large projects, team organization and working with numerous committees is an important ability. In these cases, an excellent quality team of professionals (associate art conservation specialists and experts) comes together to contribute a great depth of experience in craftsmanship and talent, problem solving expertise, analytical capabilities, professionalism and art connoisseurship. For video testimonials click on this link: https://www.youtube.com/playlist?list=PL41D80C1C65FF2CE7
Past Mural Projects
2019 Mural Conservation of “The Contribution of Negro Women in American Life and Education” by Dr. John Biggers, 1953, Houston Texas. Oil on plaster, 8′ x 24′ Hurricane Harvey recovery project. Extensive mold, flaking: https://www.fineartconservationlab.com/murals/mural-conservation-of-the-contribution-of-negro-women-in-american-life-and-education-a-national-treasure-in-houston-tx/
2018 – 2019 Blue Moon Trilogy freeway mural by Russell Carlton, 1987, Department of Cultural Affairs, City of Los Angeles, 20’ x 186’, soft acrylic on concrete; Very complicated graffiti removal project on a large mural in difficult circumstances with high profile city entities involved; extensive testing and color matching, cleaning, pictorial restoration, anti-graffiti coating: https://www.fineartconservationlab.com/murals/huge-hollywood-mural-monument-to-successful-aids-research-is-being-saved-and-restored/
2018 The ceiling murals of The Orangerie of the historic Green Acres Estate in Beverly Hills, oil on plaster, 1927, 1,300 sq. ft., Consolidation of extensive water damage cleavage, dealt with the problems of 3 previous inept restoration attempts, touch up of extensive losses, cleaning, varnishing. https://video214.com/play/fC1YbM2quGUvkoKhH0j1JQ/s/dark
2018 Two 8’ x 15’ historical murals in Logan, Utah for Corporation of the President, 1930’s, clean, inpaint, varnish.
2018 “Scenes From English Literature” by Suzanne Miller, 1937, 80’ long WPA mural, City of Long Beach CA Worked with 3 entities to remove and reinstall after new construction. Lead white presense, https://www.fineartconservationlab.com/murals/long-beach-public-library-wpa-mural-preservation-and-restoration/
2018 El Centro Chicano Movement Murals, University of California at Santa Barbara (UCSB), 1993, 9’ x 100’ acrylic on wood paneling on wall. El Centro was renovated and the murals considered an important part of the University culture and history. Our lab consulted with the general contractor and 2 University departments and student organizations to coordinate and guide the mural conservation treatments and processes through to the completion of the reinstallation.
2017 – 2020 City of Los Angeles, Public Art Division – City Art Collection – Awarded 3 year contract to be their painting art conservation experts. To date 3 public art projects have been worked on.
2018 (began in 2011) Ongoing working relationship with contemporary mural artist, Kent Twitchell, protecting public art with anti-graffiti coatings, consultations about mural construction, graffiti removal. Projects have include iconic LA mural monuments Strother Martin Mural, Steve McQueen Mural, Jim Morphesis Monument, The Word (Biola Jesus), Ed Rauscha Monument, Michael Jackson Monument. See short video: https://www.youtube.com/watch?v=CJhlIY_TXuM
2017-2018 “Animal Circus” by Hubbell Reed McBride c.1940, oil on canvas, mural previously removed from demolished building, Denver, Colorado, 6’ x 27’ Artwork required lining onto supportive material for remounting to a wall, inserts of new fabric for missing mural sections. Mural was mounted to allow for future removal and seismic safety of artwork. https://www.fineartconservationlab.com/travel/preservation-and-restoration-of-a-very-cute-27-ft-mural-animal-circus-by-hubbel-reed-mcbride-c-1940-its-lining-and-stabilization/
2016 – 2017 “One Nation, Indivisible…” oil on plaster 12′ x 30′, by Baron Rudolph Charles von Ripper, 1942, at Ft. Bliss, El Paso, Texas. Work performed for the Department of the Army, United States Army Corps of Engineers through Cherokee Nation Management & Consulting, LLC. Extensive flaking required prolonged consolidation treatments to save the mural. The work was performed in several stages as was the work for Cedar Rapids City Hall, Iowa (see below).
2016 (begun 2012) “The History of Cattle Ranching” in Texas by James Buchanan ‘Buck’ Winn, c.1950, (three 30‘ sections) 6’ x 90’ (originally 280’ long divided into 11 contiguous sections) oil on fabric previously removed from wall, Texas State University, San Marcos, Texas; lead white adhesive removal and abatement, distortions/folds removal, rip repairs, paint consolidation, stain removal, cleaning, varnish, lining, store until needed for installation, design and consult with architects and mount the mural in preparation for new permanent exhibition in the university library, work with university on installation. http://www.thewittliffcollections.txstate.edu/support/giving/buckwinn.html See video of toxic materials mitigation .
2015-2016 The Horse Breakers 1939 by Fletcher Martin, 4′ x 13′ oil on fabric adhered to wall with lead white adhesive; City of Lamesa, Texas. WPA mural removed prior to demolition of the old post office. Conservation treatments were performed in lab in Santa Barbara, CA and then reinstalled in Community Center in Lamesa. For review and video go to https://www.fineartconservationlab.com/travel/after-mural-restoration-in-california-the-horse-breakers-by-fletcher-martin-is-again-in-lamesa-tx/ For a testimonial, CLICK HERE.
2015 Historical mural of Price, Utah by Lyn Faucett, 1938, 230 feet long, oil on canvas marouflaged, City Hall (Historic Landmark). Extensive previous restorations made cleaning a difficult (but successful) process (so as not to complicate the treatments and the budget). See short video and testimonial, CLICK HERE
2013 – 2015 Law and Culture by Everett Jeffery, 1936, WPA, 6’ x 62’ oil on fabric marouflaged, City Hall, Cedar Rapids, Iowa. This Beaux Arts styled building was a federal courthouse (until 2008) where the subject matter of this wall was so controversial in it’s day that all four walls of mural were painted out in the 1950s. Second thoughts resulted in the overpaint being cleaned off about 10 years later but then the public was so outraged, that the murals were re-overpainted. This mural had 5 layers of paint over the original mural. This high profile contract included working with the City Manager’s office and was partially funded by National Endowment for the Arts (NEA), other local grants, and a State Historical Society of Iowa grant. Work included overpaint removal, rip repair, consolidation, inpainting, varnish, video documentation: https://www.fineartconservationlab.com/wpa-mural-restoration-in-city-hall-of-cedar-rapids-iowa/ Speaking at public outreach meetings and other consultation were also provided. Work performed ahead of schedule and on budget. Testimonial: CLICK HERE
2014-2015 Two pioneer murals by Minerva Teichert, 1940s, 10’ x 9’ ea., City of Montpelier, Idaho. Conference center required extensive renovation. Murals, valued at more than the building, were removed from the walls, brought to FACL in Santa Barbara for conservation treatments and then reinstalled, after construction, in Feb. 2015 with seismic mitigation considerations. Click here to see info page with videos. This project won the Idaho Heritage Preservation Award.
2014 Panorama of Historic Eugene, Oregon by Andrew Vincent, 1964, 11.5’ x 43.5’, acrylic on canvas marouflaged, Council Chambers of City Hall. Old City Hall demolition required the saving of the art component by the general contractor. Mural removal was complicated by discovery of asbestos in wall materials. Project completed on time and on budget. Click here to see GC testimonial. Click here to see project summary. Click here to see video on toxic materials mitigation experience.
2014 11,500 sq. ft Art Deco decorated historic ceiling in the Beaux Arts Building at 1600 West 7th St., Los Angeles. Damaged by arson and smoke the oil paint stenciled ceiling decorations on cement were consolidated, cleaned and varnished. Consultation services allowed the owner to interact successfully with the Historic Preservation organizations of the City of Los Angeles. See video of toxic materials mitigation: Click here
2014 Station of the Cross XII (Crucifixion) by Jose Francisco Zervin, 1800, 12’ x 7’, Mission San Juan Capistrano in California located in the Father Serra Chapel oil on canvas encased in the wall with architectural molding. Hidden and forgotten for 40 years, this very important painting was recently found. The painting conservation treatments on this Spanish Colonial monumental painting included, removal from the building and reinstallation, consolidation of flaking paint, rips and hole repair, special lining to compensate for the 10 sections (seams) of fabric, cleaning, filling, inpainting, varnishing. Multiple public relations presentations and fundraising collaborations were also provided. http://tipsforfineartcollectors.org/oil-paintings/200-year-old-painting-newly-restored-returns-to-mission-san-juan-capistrano/
2011 – 2012 Graffiti removal, conservation and restoration of the Jim Morphesis Monument by Kent Twitchell. 15ft x 45ft, acrylic on synthetic fabric glued to cement wall, located under the Grand Ave. overpass in downtown Los Angeles. This is the first mural of 13 murals to be worked on for The Mural Conservancy of Los Angeles that is part of the 1984 Olympic Arts Festival Murals. Ongoing maintenance of graffiti removal is also part of this project. For more information and videos go to https://www.fineartconservationlab.com/jim-morphesis-monument-by-kent-twitchell/
2011 CalTrans, State of CA had painted out 8 of the 13 ’84 Olympic murals Not only are these murals a special celebration of the 1984 Olympics held in LA, but the artists are still living and, in California, artists have legal rights to their artwork (VARA)… especially if it is public art. I was asked to test and evaluate, based on professional art conservation principles and ethics, CalTrans’ materials, discuss the methodology and find out if there was a way to diffuse a law suit. My “intervention” was also of intense interest to SPARC, the Community Redevelopment Agency of Los Angeles, all the 10 artists involved, the Public Works Dept. of CA, the City of Los Angeles, the “Special Projects Dept” of the Getty Conservation Institute (who are looking into protecting murals from graffiti) and the population of art conservators in the LA area that are interested in murals. In short, I found myself reporting-in taking into consideration all the interests of these entities. This project was designed to become a maintenance program for the outdoor murals of Los Angeles, to keep graffiti off of them, conserve, restore and preserve this very visible cultural patrimony of Los Angeles. A blog has been set up to update the public with written and video media at http://www.SaveFreewayMurals.com
If desired, a list of mural conservation projects in the USA and Italy extending to 1975 is available.
Speeches, Publications, Workshops and Seminars Presented
2019 Featured speaker, Pomona Valley Historical Society Annual Meeting, Pomona, CA
2018 Campbell House historical museum – docents and members seminar, 29 Palms, CA
2017 Organized national conference for American Institute for Conservation (AIC) in Chicago Il., CIPP group. Presented a talk on the immediate positive business effects of a good mental state.
2016 Emergency Preparation and Save Your Stuff – Presentation City of Las Vegas
2012, 2015, 2016, 2017 Organized national conference for American Institute for Conservation (AIC), CIPP group.
2015 Workshop and speaker at RootsTech International Genealogy Conference, Salt Lake City, UT.
2014 Speaker and presenter of workshop for Laguna Beach Genealogy Society
2013 Publication of book “Save Your Stuff in the Workplace”, Morgan James Publishing, NY, 159 pages
2013 Ojai Valley Museum, Ojai CA, Featured speaker on painting conservation issues
2011 Mural Conservancy of Los Angeles, Presentations, workshops on site about removing graffiti from art
2010 National Hurricane Conference, Orlando FL, Publication, demonstration
2010 AMCDPE Mexico International Conference on Natural Disasters, Acapulco, Mexico. Speaker, workshop
2010 Jefferson Parrish Hurricane Preparedness Conference, New Orleans, LA Demonstrations, speaker
2007 Conference Featured Speaker and seminar on- How To Save Your Stuff From A Disaster – Tips on what you can do at home – Public Outreach for The Japanese American National Museum, Los Angeles
2004 Workshop Series on behalf of Santa Barbara Museum of Art on How To Save Your Stuff From A Disaster – Tips on what you can do at home
2004 Seminar Series on the conservation of mural America Tropical by David Alfaro Siqueiros for the Santa Barbara Museum of Art
2000 to 2008 : Conduct/teach yearly seminars and workshops at Italian conservation centers in Venice and Brescia, Italy
2001 Paper The Fair Park Mural Conservation Project Completion , AIC Meeting in Dallas, Painting Specialty Group
2001 Conducted AIC tours for members at the Fair Park complex, Dallas TX
1999 – 2001 Public outreach in the State of Texas Spoke to numerous national organizations, Texas State groups and Dallas local interest groups, set up educational displays at State Fair of Texas and collaborated on Fair Park Documentary films on the subject of conservation.
2001 to Present Designed and set up public information/public outreach web sites/ blogs for art conservation and collection care
2000 – 2001 Designed and set up web site for City of Dallas – www.fairparkmurals.com
1996 Book “How To Save Your Stuff From A Disaster” 210 pgs, 100 ill. Preservation Help Publications
1995 Pamphlet, “How To Respond After An Earthquake”, 500,000 copies distributed by Bank of America Corp after Northridge Earthquake through Human Resource Depts
1989 to 1997 “How to Save Your Treasured Family Possessions”Courses and workshops at Santa Barbara City College Adult Ed.
Work within the historic preservation field requires knowledge of community standards for preservation of architecture and artwork within historic structures. It requires working with teams of people, city governments and departments, writing proposals and public appearances. This activity highlights expanded consultation capabilities.
- • Beaux Arts building on federal and state register of Cedar Rapids, Iowa. Art conservation of murals: https://www.google.com/search?client=safari&rls=en&q=cedar+rapids+murals&ie=UTF-8&oe=UTF-8
- • Received State Preservation Award for art conservation of murals in a historic structure in the State of Idaho 2016: https://www.youtube.com/watch?v=bma2Y80Qlkw
- • City of Beverly Hills, CA – Greystone Mansion
- • Community Redevelopment Agency, City of Los Angeles
- • Received National Preservation Award from National Trust for Historic Preservation, October 2, 2003. Fair Park, Dallas Texas – City of Dallas, Texas (4 projects) http://www.FairParkMurals.com
- • Painted Deseret Inn, Petrified Forest National Park, US Federal Gov’t
- • Los Angeles Central Library, City of Los Angeles
- • Saint Monica’s Church, Santa Monica, CA – Hardy Holzman Pfeiffer and Assoc., Los Angeles and New York
- • The Historic Mission Inn Corporation, Riverside, CA – Friends of the Mission Inn, Riverside, CA
- • El Pueblo de Los Angeles Historical Park, LA, CA – Friends of Mexico Foundation – Getty Conservation Institute
- • ENAIP Lombardy Regional Conservation Center, Botticino,Italy
- • Santa Barbara Trust for Historical Preservation, CA
- • Church of Jesus Christ of Latter-day Saints, Salt Lake City, UT
- o Museum of Art and Church History, SLC
- o Temple Department
- o Museum Exhibits
- o Church History Dept. – Historical Division
- • City of Burbank, CA (3 projects)
- • University of California of Los Angeles (UCLA)
- • Department of Labor, US Govn’t
- • Department of Transportation, US Govn’t (8 projects)
- • General Services Administration, US Govn’t
- • National Park Service, US Govn’t
- • California Park and Recreation Dept, State of California
- • Park and Recreation Dept., State of Texas
“The monies spent for your (art conservation assessment) services are the best money we ever spent.” Wendy Adair, VP of University Achievement, Texas Southern University, TSU), Houston, Texas http://www.tsumurals.com
“Scott, you may be the best conservator I know in the country. I have enjoyed working with you more than I can express.” Perry Huston, Past AIC President, Dallas, Texas http://www.fairparkmurals.com and http://www.youtube.com/watch?v=ACRmeSkgCaA
“This was a very politically charged project in the City of San Francisco for over 10 years. We needed someone beyond reproach that we could count on to “knock the ball out of the park.” That’s why we chose Scott Haskins and FACL. Mr. Al Albano, Consultant, Piazzoni Mural Project, Asian Art Museum, San Francisco.
“Thank you for the assessment, excellent service and over the top quality workmanship for the conservation of our damaged collection. I appreciate your timely response and I am 100% pleased with the results and services provided by FACL.” Insurance claim by Lucinda Bliss, Insured with Chartis Insurance Co.(aka AIG)