Proposal forCity of Newport, Oregon

Mural Restoration and Renewal Project

by Rachel Howard and Shanita King

Table of Contents

Letter of Interest 2

Artist’s StatementRachel Howard 3Shanita King 4

Current ResumeRachel Howard 5Shanita King 9

References 11

Images of Work 12

Supportive MaterialNews Article on Mural Restoration featuring contribution by Rachel Howard 18

Budget 20

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Dear Selection Committee for the Mural Restoration and Renewal Project of Newport:

We hope this finds you well! We are excited to apply to Newport’s “Mural Restoration andRenewal Project” and trust that our experiences creating and restoring artworks will prove to bevaluable contributions to the project’s goals, as well as the city’s beautification, sense of history,and pride.

Together, we have over thirty years experience working in the arts, including painting publicmurals, teaching art history, showing work in galleries, contributing to the restoration andconservation of outdoor monuments, murals, architecture, paintings, objects, and attending citymeetings with the Design Advisory Committee, the Arts Council, Parks and Parkways, and mostrecently a public meeting in Portland, OR to hear opinions on a proposed mural meant to beinstalled on Martin Luther King Jr. Boulevard.

Rachel Howard has a master’s degree from Tulane University’s School of Architecture inPreservation Studies, which gives her an added component of expertise when dealing withartworks that have become part of the architectural fabric. Her experiences in the conservationof paintings have afforded her the unique opportunity to understand color vibration, materialcompatibility, and various restoration techniques which highlight the artists’ original work, notthe restorer’s. Part of ethical conservation includes composing detailed treatment reports so thatfull transparency is available for future reference, a step essential to the artworks’ ongoing safety.

Shanita King has fused her mural painting work with sustainable land use practices andregenerative design. With a background in architectural design, her methods are precise, reliableand demonstrate a deep connection to the environment.

We have been very fortunate to have worked with many top experts over the years, learning theirtechniques, watching their processes, and being encouraged to work similarly. We haveexperience working both independently and in groups, and we are able to produce and presentwork while multitasking under strict deadlines. We are eager to coordinate all the componentswe have collected to bring together wonderful results which satisfy on aesthetic, emotional, andfinancial levels. We believe that our experiences will ensure that Newport’s Bayfront stays thecharming place that it is. We would like to meet with you to discuss this further!

Thank you very much for your time and attention. Please let us know if you would like to lookat more examples of our work as we would be happy to send them. We are looking forward tohearing from you!

Sincerely,

Rachel Howard Shanita King5774 N. Haight Ave 3737 SE 331(1 PlacePortland, OR 97217 Portland, OR 97202(503)729-9431 (971)207-3443rachelhowardconservation.com

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Rachel HowardArtist Statement, Spring 2017

Someone once told me that “it’s hard to improve upon nature.”

I have found that not only is that statement true but that there are also wide variants oftypes and intensities of nature coexisting all around us. My art making process is born ofthe experience that when selections of those different natures are purposefully combined,something beautiful and important can happen that may have otherwise gone unnoticed.

I have always been interested in storytelling. My mixed-media sculpture work combines myexperiences in drawing, printmaking, and painting, with words. The forms are inspired bythe nature we can see, and the text is inspired by the nature that lies hidden. The twocomponents are placed together because they share something in common. Past pieceshave included the form of a woman’s leg, whose journal entry tells of a desire to travel, theform of the torso of a man who recently shared a secret with me, which is printed on thereverse side where his heart would be, and the form of a pregnant belly covered in textdescribing hopes and aspirations.

The method supports the content because the forms are cast directly on the surfaces whichthey represent. Since they already exist in nature, I feel I am borrowing them and addinganother layer of relevant nature to increase understanding and to inspire new creativeconnections. It’s about slowing down, looking closer, and feeling something more complete.

Shows2011: 76th Annual Spring Show & Sale Art Exhibit

Group Show at Associated Artists of Butler County, Pennsylvania2009: Send Out Your Light

Solo Show at Irma Freeman Center for Imagination, Pennsylvania2004: Fusion

Two-person Show at Dunlap Gallery, Ohio2003: Reflections of India

Group Show at Sanskriti Foundation, India

Education2015: Master’s Degree in Preservation Studies

Tulane University School of Architecture, New Orleans, LouisianaStudy Abroad in Panama City, Panama in 2015

2013: Post-Baccalaureate Certificate in Art ConservationSACI (Studio Art Centers International), Florence, Italy

2012: Continuing Education Courses in Art History, Spanish, and Sculpture2010: Continuing Education Course in Chemistry2004: BA in Art, Concentration in Painting; Minor in Art History

Otterbein College, Westerville, OhioStudy abroad in Barcelona, Spain in 2002, and Sanskriti, India in 2003.

WebsitesSculptures and Lighting Solutions: http://sendoutyourlight.blogspot.com/Cultural Heritage Conservation and Contact Info: http://rachelhowardconservation.com/

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Shanita King is a self-made artist from the east coast; she has loved the process ofcreating art since her childhood, and that feeling has stayed with her since. Herrelationship with her work has grown over time, into a meditative practice- A way ofworking through emotions and integrating both the beautiful and the challenging aspectsof human life.

King’s artwork is a visual manifestation of a deep exploration into her passions,embodying elements of nature, yoga, music, creative movement, spirituality and divineplay. Elements of figure drawing with surrealism and the abstract are an intrinsic facet ofKing’s work.

While living and working at Omega Institute for Holistic Studies in NY, King was ignitedwith an inspiration to combine the meditation practice with the creativity process,thereby creating the Heart Series. It’s a unique series in that the culmination of eachpiece of art began with the shape of a heart, the meditative process guiding the creativeflow, with no presupposed outcome. Since the creation of the Heart Series, King’srecent work has been created using that same meditative process; what’s more, eachpiece of work has a hidden heart. ..the heart has become a sigel; an energetic intentionand organically flowing healing space to create from.

Inspired by the people in her community, the sacred geometry of Mother Nature, andartists from throughout history; using a combination of free-form and precise geometry,King paints landscapes, portraits, murals, and works of imagination. King’s piecesreflect her artistic intention: to mindfully create manifestations, with love, simplicity, andbalance.

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Rachel Howard(503)729-9431

5774 N. Haight Aye, Portland, OR 97217rachel.gai1.howardgmail.comrachelhowardconservation. corn

About MeI practice ethical and sensitive conservation and preservation with training in the United Statesand Italy with experience in murals, paper, objects, paintings, sculptures, and buildings. Myintention is to continue inspiring the creation, and preservation, of artistic and cultural heritage.

Experiences in Cultural Heritage MaterialsPaintings Conservation Assistant

Nina Olsson Paintings Conservation, LLC in Portland, OR: May 2017 — presentAssistance in murals conservation, retouching, relining, cleaning, and consolidation of paintings, andframes repair.

Contract ConservatorFoulke Fine Art Conservation, LLC in Pittsburgh, PA: September 2016— present

Structural repairs, cleaning, repairing losses, inpainting and retouching of paintings.

Plaster Statuary RestorerUsed Church Items in Pittsburgh, PA: Autumn of 2016

Cleaning, retouching paint, and repairing losses on plaster statues.

Conservation of Historic WallpaperCypress Building Conservation in New Orleans, LA: Summer 2015

The wallpaper from the historic Seignouret Brulatour House in the French Quarter is a layeredaccumulation of flocked, stenciled, and hand-painted samples representative of the finishes in the houseover decades. The Historic New Orleans Collection commissioned the wallpaper’s cleaning andstabilization consisting of removal from the walls, dry cleaning, solvent cleaning, and archival housing.My main role in this project was methodology development, cleaning, and research.

Assistant to Damp-proofing Prototype at Madame John’s LegacyLouisiana State Museum, New Orleans, LA: December 2014— February 2015

This project was a grant-funded effort to address the problem of rising damp in historic foundations. Theproject involved the National Center for Preservation Technology and Training, the Getty ConservationInstitute, Building Conservation Associates, Watson and Henry Associates, Cypress BuildingConservation, and the Louisiana State Museum. My role was to follow and record the preservationefforts, from conference calls to methodology, and create reports on the progress. I also co-authored anarticle on the subject for a local preservation magazine.

Murals ConservatorGrenier Conservation in New Orleans, LA: July 2015 — November 2015

Conservation and restoration of the eight Xavier Gonzalez marouflage murals at the Lakefront Airport.

Decorative Wall Finishing of Private ResidenceDiane Killeen Painting Studio in New Orleans, LA: June — July 2015

This job provided an opportunity to increase my understanding of wall finishes including plasterdecorations, painting techniques, decorative panel installation, and various ways to gild and tone.

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Conservation of Margaret Haugherty MonumentMonumental Task Committee with Ivan Myjer, Building and Monuments Conservator

in New Orleans, LA: March 2015This monument is comprised of brick, granite, and marble. We removed the biological growth, redlichens, and suiphation crust from the monument. Afterwards we repaired the losses, and finally,retouched those areas. The operation to fill the cracks was pending at this time.

Application of Wax Treatment to Avery Alexander MonumentMonumental Task Committee in New Orleans, LA: March 2015

I assisted in the application of a wax treatment on this bronze monument using brushes, wax, andblowtorch.

Creation of Online Conditions Assessment FonnMonumental Task Committee conjunct with Preservation Technology Course

in New Orleans, LA: March — April 2015A preservation project was to survey and complete condition assessment reports on monumentsthroughout New Orleans. I designed a form that could be accessed from a smart phone with relevantdropdown glossaries on subjects like probable conditions and places to upload photos and comments.The forms were sent to a database where they could be exported to both Excel and Word documents forMonumental Task Committee’s record keeping.

Pre-program Conservation InternNina Olsson Art Conservation, LLC in Portland, OR: March 2014— August 2014

Projects included photo documentation; the deinstallation, cleaning, restoration and reinstallation of amural painting; and cleaning, consolidation, flattening planar deformations, attaching a backing board,and strip lining of easel paintings of various media including egg tempera on masonite, oil on canvas andacrylic on canvas.

Post-Baccalaureate Work in Art ConservationStudio Art Centers International in Florence, Italy: September 2012 — April 2013

I received hands-on training restoring paintings and artifacts that are part of Italy’s recognized culturalheritage. Classes were taught by Italy’s top conservators, with whom approaches and diagnostic systemsfor the conservation of paintings, drawing, sculpture, frescoes, textiles, wood, paper, and archaeologicalartifacts were explored. Additional classes also covered conservation laws and business practices.

Pre-program Conservation InternCarnegie Museum of Natural History in Pittsburgh, PA: February 2012-July 2012

I built a humidification chamber, handled friable objects including textiles and film, cleaned articulatedanimal skeletons, and worked under a microscope.

Librarian Assistant for the Conservation, Preservation and Access DepartmentCarnegie Libraries of Pittsburgh, PA: March 2010 — August 2011

I stabilized fragile items, performed dry cleaning, mends and encapsulation, created custom storageboxes, and provided conservation treatment to books, maps and other documents.

Assistant ArchivistCourtright Memorial Library, Westerville, OH: 200 1-2004

This was an undergraduate work-study where I assisted the head archivist in conservation andorganization efforts involving varying materials.

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Experiences in Museums and TeachingAssistant to Visiting Artist Sculpture Installation

Louisiana State Museum in New Orleans, LA: 2014—2015I was charged with creating reports around the process of a sculptural installation by a visiting Frenchartist, Julie Morel. The funding and maintenance was coordinated through the museum. Meetings wererequired with the Design Advisory Committee at City Hall, the Arts Council, and Parks and Parkways.

DocentThe J. Paul Getty Museum in Los Angeles, CA: 2008 — 2009

I researched the museum’s large campus layout and designed a tour of the grounds with reference to thearchitecture, materials used, the architect, and philosophy behind the design.

Program Assistant and InstructorS.U.N. (Schools Uniting Neighborhoods) Program in Portland, OR: October 2006 — August 2007

As an instructor I designed lesson plans which were primarily art and art history, then also environmentalstudies. As an assistant, I organized parent development team meetings that focused on donation requestsand family involvement, as well as carry out any assignments given by the program coordinator.

E.S.L. (English as a Second Language) Instructor with AmericorpsGreater Pittsburgh Literacy Council in Pittsburgh, PA: September 2005 — September 2006

I instructed in a classroom setting for varying levels and occasionally tutored one-on-one. Since thestudents were refugees, the considerations were education and cultural. I also coordinated the summerdaycare program which provided activities for youth while their guardians attended lessons.

MembershipsThe American Institute for the Conservation of Historic and Artistic Works (AIC)Association for Preservation Technology International (APTI)

I attended the October 2014 Conference in Quebec City, Canada

PublicationsKrotzer, Dorothy S. & Howard, Rachel. “Salts of the Earth: Conservation of Historic Masonry atMadame John’s Legacy.” Presen’ation in Print February 2016: 32-33. Print

Education2015: Master of Preservation Studies

Tulane University, School of Architecture in New Orleans, LACourses included building preservation, architectural history, preservation law, field studies andadvocacy, preservation technology, international practice, and economics and business ofpreservation. The final term consisted of a practicum in the field.Study Abroad in Panama City, Panama in 2015

2013: Post-Baccalaureate Certificate in Art Conservation from SACI (Studio Art Centers International)Florence, Italy. Thesis: Non-Toxic Cleaning Solutions for Art Restorers

2012: Continuing Education Courses in Art History, Spanish, and Sculpture2010: Continuing Education Course in Chemistry2004: BA in Art with a concentration in Painting and a minor in Art History from Otterbein College

Departmental Honors: 3.9 in major and 4.0 in minorStudy abroad in Barcelona, Spain in 2002, and Sanskriti, India in 2003

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Additional SkillsComputer literate with knowledge of Word, Excel, Adobe Creative Suite, and more2015: Performed historic paint analysis for the former Marine Hospital in New Orleans2014: Helped restore an early painting by Chuck Close2014: Helped restore three paintings for The Saward Art Collection at Kaiser Permanente2013: Cleaning and retouching on Filippino Lippi’s Madonna and Child panel painting2013: Reconstructing artifacts from the Picenian Warrior Tomb2013: Painting independent study with Bianchi Dipinti in Florence, Italy2012-2013: Retouching detached frescoes from the Palazzo Pitti Deposits in Florence, Italy2010-2011: Participation in Alliance for Response — Pittsburgh — Heritage Preservationmeetings2007: Trained in Visual Thinking Strategies (VTS)Language skills in Spanish and Italian

Volunteer ExperiencesOVLA (Oregon Volunteer Lawyers for the Arts)CHAP (Children’s Healing Art Project)Rebuilding New OrleansIntern for The Worldly web magazineSuccessful Arnericorps completion

Earth Day at frick ParkRock the ArtsGoods for GunsUMOJA: Aftikan Arts FestivalSprout FundProject Prom

Peace Corps NomineeOtterbein College’s Campus Programming Board’s Chair of PublicityMember of Otterbein College’s International Students Association

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SHANITA L. KING971.207.3443shanita.king@gmail.com

October24, 2017

To whom it may concern:

It is with great interest and enthusiasm that I submit the enclosed resume and this letterfor consideration for your mural restoration project. While my resume will provide ageneral outline of my work history, problem-solving abilities, and achievements, I havetaken your current specific requirements into consideration and compiled a list of myapplicable skills in those areas. I am confident I have developed a professionalresourcefulness and personal diversity that will enable me to become a productivemember of your team. I am very passionate about the environment, regenerativedesign, cycling, yoga, visual art and bring this passion and enthusiasm into all of my work.

I have a deep connection with the coast and love the bodies of artwork to be restored. Ihave a diverse interest and skill set that weaves together beautifully. Design ranging frommurals and visual art to serene landscapes. I think my varied interest and colorfulbackground could be highly beneficial to your restoration team.

Highlights of my qualifications and work experience include:

Visual Artwork and Mural Commissions for commercial and residential properties

Project coordinator and team lead for various large-scale design projects

Proven capacity to deliver demanding project requirements on time and within budget

Vast experience in Landscape and Architectural drafting, design ranging from

conceptual design, creating drawings and renderings, creating models and site

installation.

An overall sense of design and aesthetics that is renaissance in nature but organically

formed from a true love of design, inspired by patterns and balance in nature. My artwork

and graphics include both hand-drawn, painted and computer generated work.

Excellent verbal and written skills, well versed at client relations, effective listening,

problem-solving, conflict management and resolution.

Ability to think out of the box and anticipate the needs of peers and clients on the

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front-end in order to minimize future issues and/or concerns

Self-motivated with a level of commitment to quality, and the ability to effectively

multi-task without compromising integrity

Team player that recognizes the importance of solidarity for the overall success and

cohesion of a team — this united front is pivotal in achieving intended goals and

preserving the best interest of the project

I would welcome the opportunity of a personal appointment to further discuss examples

of where I have used the combination of these competencies. Thank you for your time

and I look forward to hearing from you.

Sincerely,

Shanita L. King

Mindfitlly creating manifestations with love, simplicity, and balance.

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References

Dr. Brian Viatkus and Felicia FeruzzaOwners at Alberta Healing Arts Center1223 NE Alberta StPortland, 0R97211(503) 206-5309albertahealingartscentergmail.com

Alberta Street Mural (RACC awarded) 2014Alberta Street Mural 2017

Nina OlssonOwner at Nina Olsson Art Conservation, LLC2359 SW Park PlacePortland, OR 97205ninamolsson@gmail.com(503)236-0789

Ivan MyjerOwner at Ivan Myjer Building & Monument Conservation83 School StreetArlington, MA 02476ivanivanmyj erbmc.com(617)834-3908

Gianna SalandeDirector of Restoration at St. Alphonsus Art and Culture Center, New OrleansP0 Box 57143New Orleans, LA 70157giannasalande@yahoo.com(504)206-8620

Greg LambousyDirector at New Orleans Jazz Museum400 Esplanade AvenueNew Orleans, LA 70116glambousy@crt.la.gov504-427-2190

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Public Mural painted by Shanita King

Public Mural painted by Shanita King

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Example of Painting Ability by Rachel Howard___________

Howard’s reproduction, 6Ox7Ocm, oil on canvas

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This technique of chromatic reduction requires an extreme sensitivity to color to remove the visualdisturbances, thereby enabling the viewer to see the artist’s work without the use of heavy retouching oroverpainting.

r

•1detached fresco upon arrival

detached fresco after homogenizing the visual surface — by Rachel Howard

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Rachel Howard conserving Xavier Gonzalez Mural

is

Conditions Assessments Maps Key for Xavier Gonzalez Murals

PAENT LAYER CON DIT[ONS

Presence of Rice Paper I I

Biological Growth I I

Lacerations LJ

Ahrasions

I)elaminating Paint I

Drips I ‘i I

Paint Loss I I

RENDERING LAYER CONDIT[ONS

Detached Canvas I I

SUPPORT LAYER CONDITtONS

Furling Pluste

Paris before treatment paint layer conditions, October 2015

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k...

Paris bejore trea tmcn t rcnderincj layer conditions, October 2015

Paris before treatment support layer conditions October 2015

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Action Report: Experts Saving Historic Lakefront Airport

“This is meticulous work,” Grenier said. “Inch by inch we’re removing layers of time, and

man made damage, and so on to the paintings, and they’re actually in very good condition

underneath.”

The murals that depict famous destinations had been covered in rice paper to protect

them. The team is removing the paper and adhesive, cleaning off the dirt, and repairing the

damage to six murals. New Orleans Museum of Art guides were fascinated.

NOMA Docent Joan Zaslow said what is fascinating is the fact that they were covered up

with sheetrock.

Naomi Kornman, also a docent, said “It’s the history of our city, and we get to see them

again.”

Murals

CONNECT 6 KEDINCOMUENTEMAILMORE

NEW ORLEANS -- Art restoration expert EIise Grenier and her team are saving 80-year-

old murals of Paris and New York that have been covered for decades after Lakefront

Airport was renovated in the 1 960s.

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Grenier believes the murals will last for a very long time. “They’ll be here for a thousand

years,” Grenier said. “They’ll be here forever.”

In a February Action Report, Wilma Heaton, Vice Chairman of the Non-Flood Protection

Asset Management Authority, said they were raising funds for the project, and today she

said people responded.

“The most important help was the Action Report,” Heaton said. “You got the message out

to the public, and they came in droves to support us.”

The last step in the process is to fill this vacant space.

Once there was a mural titled Bali, but it disappeared. Grenier said she is prepared to

recreate it, but what she’s really hoping is to find the original.

“It would be wonderful if it turns up, and it might, because I can’t imagine that anyonewould have done away with it,” Grenier said. Anyone with information about the missingmural can contact Grenier here: http://www.grenierconservation .com

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Projected Budget

Tools

CleaningMaterials

Fill Materials

Paint

Scaffolding

LaddersBrushesRollers

Poultices

Hydraulic GroutSilicateSpackling

KEIM mineralpaintsOther Paints

$1 5-$50/day$40-i 50/week$100$2 - $25$25

$100$5

$80

TBD

2105

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10

$300

$200$200$125

$40

$100$20

$800

Item Description Approximate Projected CostPrice per Unit Amount Needed

(subject tochange)

Artistfee $35 anhour 166* $5810

Licensure City of Newport $50 1 $50Business License

TOTAL $8345

ProtectiveVarnish

Travel

Insurance

Solutions

UV Protective,matte — glossy

Portland toNewport withoccasional hotelor other rental

WorkerscompensationProperty DamageLiability

TBD

$15-$20

135way

miles one

$500/year perpersonTBD

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TBD

6 months each

$200

$500

* Time was approximated by assessing the mural appearing to be in the worst condition (#11 on“Newport Bayfront Murals — Find the hidden Murals!” guide), and the mural appearing to be inthe best condition (#2 3), and then creating an average for all of the murals based on the projectedhours required for the two case studies. Assessments were performed by Rachel Howard onOctober 24, 2017

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