The art handling company I work for had the privilege of traveling to Omaha, Nebraska (somewhere in middle America) to help crate works from the very impressive Phillip Schrager Collection of Contemporary Art. We arrived with pre-fabricated crates and the responsibility of packing fifteen works in two days. I was completely floored with the quality, quantity, and ambition of this private collection. Working as an art handler has its perks...not only did I get to spend time around this work, but I got a peek into the back room. I will be returning to Omaha periodically to see what works they will fill the empty spaces. These images are just a taste...
This Peter Halley (acrylic, Roll-a-Tex on canvas) in the
background was monumentally transformative. All the
work in the collection maintained the common thread of
using materials aggressively. Mary Heillman chairs in foreground.
Jonathan Lasker, oil on canvas. Look at that paint.
Barry McGee, oil and acrylic on panel
Barry McGee, detail, acrylic and oil on canvas. Gotta love
his geometric patterns.
Chris Ofili, Dead Monkey acrylic, glitter, beads, elephant dung on panel.
This piece satisfied all the decorative, embellishing tendencies
that I sway away from in my own work. Getting to hold and wrap
the dung balls was too cool.
Posing with this Thomas Struth photograph. The depicted
crowd is peering at the slightly off-camera David by
Michelangelo.
A behind-the-scenes view of the art handling operation.
The Elizabeth Murray in the background was the
biggest task. The crate was built outside due to its size.
The Elizabeth Murray crated and secured by co-worker
Dan Elliott. Dan is demonstrating a very important
skill for art handlers; standing and holding. Keep it up Dan.
Mike Otto, owner of Artworks of KC, prepares the Murray
for the truck.
And off it all went in the Mayflower.
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