Conservation and Mountmaking: Seismic Mountmaking

The concept for seismic mountmaking at the Getty Museum began in the early 1980’s with a small group of dedicated people in the conservation and preparations departments. In consultation with seismic engineers, research was undertaken to better understand the potentially harmful forces of an earthquake and develop strategies to minimize damage to its collections.

In an earthquake, artworks can be susceptible to violent ground motions. To address this, the museum incorporates various methods that secure the artwork and helps protect it from damage. For example, at the Getty Villa the Sculptural Group of a Seated Poet and Sirens (76.AD.11) incorporates internal supports and a base isolation since the artworks are inherently unstable and comprised of fragmentary terracotta. And at the Getty Center, the Borghese-Windsor Cabinet (2016.66) is tall with a narrow base and has multiple sections. To address this, a seismic mount discreetly connects all the components and secures the cabinet to the gallery wall.

Seismic mountmaking is continually evolving, requiring ongoing research into new materials and techniques, as well as improved understanding of earthquakes and their potential impact on the museum’s structures.

While the last major seismic event in Southern California was in 1994, the Getty Museum assumes another can happen at any time and prepares for that eventuality.