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Tag: Theresa Ketterer



Two years after the exhibition “Art for Every Home” filled the Beach Museum of Art galleries and then traveled to New York City and Syracuse, New York, the original prints, paintings, fabrics, and ceramics featured in the exhibition have returned to their respective homes. Borrowed from museums and private lenders across the country, a little over 100 objects were brought together to complement works of art in the Beach Museum’s own collection to present a comprehensive overview of the New York-based business, American Associated Artists.

While the registrars and collections management team are charged with the care and documentation of the permanent collection, they are also responsible for coordinating agreements, transportation, and care of loaned works of art for exhibitions. Such loans require special attention, including custom packaging, separate insurance, and climate-controlled, secure shipping. Sometimes, Beach Museum of Art staff coordinate professional conservation treatment that may be needed before an object can be loaned. In the case of “Art for Every Home,” the Beach Museum sent eighteen prints to conservation laboratories for treatment. The staff members often spend months preparing loan documents prior to an exhibition opening and, in the weeks after the exhibition closes, they communicate with lenders to coordinate the safe return of artwork.

All of the museum’s exhibitions involve extensive work behind the scenes, but those that include art loans and that travel to other museums require even more resources to help connect the museum’s collection with the larger world. Community support is vital for providing the resources museum staff members need to develop exhibitions and create meaningful experiences in the galleries and beyond for you, the viewer.

– Sarah Price, Registrar/Collections Manager and Theresa Ketterer, Assistant Registrar

Staff Spotlight: Theresa Ketterer

Theresa Ketterer, Assistant Registrar
Theresa Ketterer, Assistant Registrar

My name is Theresa Marie Ketterer. I started working at the Beach as Assistant Registrar in January. I enjoy the friendly environment and diverse collection at the museum. Before coming to Manhattan, I was at the Institute of Fine Arts, New York University, completing my MA in Art History and interning at the Metropolitan Museum of Art. In the past, I worked for the Art Institute of Chicago, Illinois State Museum Chicago Gallery, and Gilcrease Museum. In 2012, I received my BFA from the School of the Art Institute of Chicago, and since then, I have continued to make art myself. My artwork usually takes the form of abstract drawings of animals overlapped with symbols from a variety of cultures in ink on paper. As an undergraduate exchange student, I studied studio art at the Bauhaus Universtität-Weimar. In graduate school, I served as a student archaeologist and draftsman’s assistant on archaeological excavations in Selinunte, Sicily.

Proper Care for Collections Include Conservation

In preparation for the exhibition The Hero’s Journey: Selections from the Permanent Collection, the Beach Museum sent three prints to a studio in Kansas City for conservation assessment and treatment. We sent one of our two impressions of John Steuart Curry’s John Brown (2003.223), Gen. George Washington, The Father of His Country (1997.50) by James S. Baillie, and Cinderella (1966.3) by Jules Pascin. It is important to ensure prints are in good condition before they are hung for exhibition for the prints own safety and to give the viewer the best experience possible. As paper ages, the acids in it cause it to brown when exposed to light over time, which is called light staining. As the paper darkens the ink remains the same which causes the contrast originally created by the artist to lessen. This makes the print dull and less striking to museum visitors.

Before conservation
Before conservation

Paper can also be burnt by acidic mat board and adhesives, become soiled from dirt in the air, stained by water or other liquids, and have mold or mildew growing on the paper. Our three prints were darkened slightly by light exposure over many years though they had other concerns as well. George Washington had stains from dirty water and as a side effect of the moisture the print had mold growth, which looked like little brown dots all over the paper. The conservator ensured the mold growth would not spread and whitened the paper. Similarly the John Brown was whitened and spot treatments were done to remove adhesive residue and reduce the discoloration left behind from tape stuck to the paper.

After Conservation
After Conservation

The Cinderella was a bit of a different case. It was slightly light stained, but the much larger issue with this print was the way it was matted. Today museums hinge the work into archival mats using Japanese paper and wheat paste to bring as little acid as possible in contact with the paper. While all mats consist of a front window mat and a backing mat, this print was sandwiched between the two mats that were then glued together, locking the print between them. The conservator gently dissolved the adhesive to free the print from the two mats. Once free, the museum could then mat it properly, but the glue left behind stains on the paper that cannot be fully removed.

Now back at the museum, all of these prints will be matted and framed for exhibition by the museum’s Exhibitions team. As a result of the whitening treatment, the prints have higher contrast and in the case of the George Washington, vivid colors. They will also be better able to withstand the climate and light conditions inside the gallery. When they come down from exhibition they will be unframed and remain inside their mats in archival storage boxes away from the light. Conservation treatments are a crucial part of a museum taking proper care of their collections.

This post was written by the Beach Museum of Art’s Assistant Registrar Theresa Ketterer.

Image Credit:

James S. Baillie

Gen. George Washington. The Father of His Country, ca. 1840

Lithograph with handcoloring on paper

KSU, Beach Museum of Art, acquisition made possible with funds provided by Barbara Wilson and Joann & Jack Goldstein