From the Conservation Lab: Treating Bruce Onobrakpeya’s “Fourteen Stations of the Cross”

<p>Curatorial Research Associate Kyle Mancuso talks with paper conservator Snow Fain about Bruce Onobrakpeya&rsquo;s print series.</p> <p><img alt="A conservator wears gloves while trying to repair a corner of one of the prints from “The Mask and the Cross” exhibition." src="https://miro.medium.com/v2/resize:fit:630/1*6zhtlpFXfQXsoKvAhlrzhw.jpeg" style="height:467px; width:700px" /></p> <p>Fig. 1: Conservator Snow Fain at work on removing the&nbsp;<em>Fourteen Stations of the Cross&nbsp;</em>prints from their polyester casings.</p> <p>This past spring, the High opened&nbsp;<em>Bruce Onobrakpeya: The Mask and the Cross</em>, the renowned Nigerian artist&rsquo;s first large museum show in the United States. The exhibition, which explores the Catholic imagery present throughout the artist&rsquo;s work, focuses on the High&rsquo;s series of Onobrakpeya&rsquo;s&nbsp;<em>Fourteen Stations of the Cross</em>, prints that tell the story of Jesus Christ&rsquo;s final days from his condemnation by Pontius Pilate (fig. 2) &mdash; Roman governor of Judea &mdash; to his burial in the sepulchre (fig. 3).</p> <p><a href="https://medium.com/high-museum-of-art/from-the-conservation-lab-treating-bruce-onobrakpeyas-fourteen-stations-of-the-cross-d7d516754630"><strong>Read More</strong></a></p>