This page tells of the art conservation efforts of this painting restoration lab to save the murals positioned on SoCal – Los Angeles freeways. This section contains information about protecting and maintaining public art, removing graffiti, graffiti protection and working to preserve and protect our community’s heritage, legacy and culture under difficult circumstances and in challenging locations.
1. In 2012 a new effort was made to maintain Los Angeles freeway murals and the other 1984 Olympic Games Celebration murals, mostly organized through the enthusiasm of CalTrans’ Vincent Moreno and the Mural Conservancy of Los Angeles. Jim Morphesis Monument by Kent Twitchell was the first to be dug out from under 12 years of heavy graffiti. It is located on the 101 freeway under the Grand Ave. overpass. Click here to see videos and written info. https://www.fineartconservationlab.com/jim-morphesis-monument-by-kent-twitchell/
2. Fine Art Conservation Laboratories worked hand in hand with the Department of Cultural Affairs, CalTrans, The Hollywood Bowl, David Ryu LA City Councilman’s office
and the neighborhood organizations to undertake the sensitive issues surrounding the restoration of the 20 ft x 180 ft mural located in the Odin St. underpass used by semi trucks as the onramp for the 101 freeway next to the Hollywood Bowl.
Scott M. Haskins, Head of Conservation brought the “A” Team together with Luisa Pari and Anna Frassine with technician Denver Dillon to undertake the 3 week challenge of cleaning the 3,600 sq. ft painting, repainting damaged details and applying a heavy duty protective coating to facilitate future maintenance. Click here for the webpage and short video summary of the project: https://www.fineartconservationlab.com/murals/huge-hollywood-mural-monument-to-successful-aids-research-is-being-saved-and-restored/
History of Mural Conservation – Restoration Efforts of 1984 Olympics Murals
10 living master muralists, commissioned for the 1984 Olympic Arts Festival, painted the 1984 Olympics murals series that adorned Downtown LA freeways with 13 monumental fabulous murals. The smallest of these murals is 15 feet high and 45 feet wide. The largest is 23 feet high and 300 feet long!! Since their placement on the freeways, however, vandalism graffiti has all but obliterated the fabulous, quality public works of art and has saddened millions of Los Angelinos and visitors. Once tagged, Caltrans has painted over most of the murals through the years with gray paint.
A definitive and actionable planning for this conservation – restoration and maintenance effort was put into action in April of 2011 when The Mural Conservancy of Los Angeles (MCLA) invited FACL, Inc. and Scott M. Haskins, art and mural conservator to meet on the freeways with Caltrans. It was proven that the gray overpaint by Caltrans can be removed and the original murals restored to look wonderful. Several graffiti removal processes were evaluated in a subsequent visit in June 2011 to the mural “Jim Morphesis Monument” with Caltrans’ Vincent Moreno and artist, Kent Twitchell. With the “adoption” of Jim Morphesis Monument and the raising of funds for its continued maintenance, graffiti removal tests were done to establish the cleaning and mural restoration processes. Combinations of methodology and materials specifically customized to meet the needs of this particular mural were evaluated with the purpose of discovering the right method to get the job done quickly (a necessary requirement while working on a freeway!) and be able to maintain it easily over time (as the mural gets retagged).
But, efforts have always fallen short when it comes to maintaining the murals and keeping the graffiti off. There have been a number of reasons for this but it boils down to establishing a professional, committed organization/team to follow through and work well with all the entities involved… and the consistency to “stay on it.” Recently, the newly organized Department of Cultural Affairs has implemented a strategy to have applied to murals a hard barrier varnish (not sacrificial) and has contracted with a company to remove the graffiti. The jury is still out.
Regarding the 1984 Olympic Murals, the results of FACL’s research and treatments for this mural have been applied by the artist’s of the murals to undertake or direct the conservation-restoration of the other 12 murals… all in all a great step forward in recuperating our city’s lost art monuments.
Fine Art Conservation Laboratories was contracted with the City of Los Angeles Department of Cultural Affairs to provide art/mural consultation and treatment services for a 3 year period. This contract was just renewed. Numerous consultations and projects have resulted and FACL seems to be a preferred vendor as has been stated by the Department and the District’s Councilman’s Office. For example, Blue Moon Trilogy was done through this department. Click here: https://www.fineartconservationlab.com/los-angeles-department-of-cultural-affairs-engagement-letter/
Thanks Scott for keeping my mural on the radar. If the opportunity arose to bring it back I would jump at the chance of course. I’m getting older and don’t have that many murals left in me. Sure tired of losing them to stupidity and economic whims.
Anyway I appreciate what you do. Thanks.
Also, I have a new web site devoted to the sale of what I’ll call legacy art ( early work ) and prints of the last twenty five years of the mural work , including the Southbay Mural.
I WORKED ON MANY OUTDOOR MURALS IN LOS ANGELES IN THE 1970’S AND USED “GRAFFITTI COAT” SO THAT ANY PAINT ON TOP COULD BE WASHED OFF EASILY.
Matt, thanks for leaving your comment. The desire to coat artwork with a protective layer has been a challenge for public art for many decades. There have been a lot of products tried but then they age poorly and are hard to remove after years of exposure to the environment… especially outdoors. The coating you mentioned has proven itself to be a liability and to age poorly. Perhaps it might have “washed off” easily after getting tagged the week or year after applied… put trying to remove it years later… it does not wash off easily. In fact, there a LOTS of conditions that affect the safe removability of a coating: the thickness of the paint of the mural, the number of graffiti layers, the type of graffiti paint, the thickness of the graffiti in relation to the thickness of the original paintings technique, the texture of the wall, whether you can soak the mural or whether you have to be concerned with run-off according to Caltrans environmental laws and concerns… and more. Graffiti Coat is not used by anyone I know.
Wonderful work Scott and team! I have done a great number of murals and have been lucky to have escaped tags. I have varnished mine in the past, but wondered what type of varnish you used on the freeway murals. I’d like to be sure to use the very best. You do such beautiful work.
Thanks for the comment Katherine. The reasoning behind the method of protective layer application is kind of complicated. Why don’t you give me a call and I’ll explain it to you in detail and answer all your questions? My office number is 805 564 3438
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As mentioned in another comment, I really love murals since they add so much life and character to a town. However, I kinda like graffiti too when it’s really well done. I certainly would not support graffiti staying over a mural, but I have always thought that it would be great if people were free to “art up” their communities. Sometimes I fantasize about starting some sort of intentional artists community where that sort of thing is encouraged.
Wow! What a restoration! You did a good job. The problem is, how do you prevent people from putting graffiti again on the wall?
As you read and see in the videos on Jim Morphesis Monument, surveillance cameras were installed by Caltrans that are being monitored by city police, CHP and others. That’s one technique to scare them away and to find offenders.
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