Phyllis Bramson (American, b. 1941) is a seminal figure in Chicago’s contemporary art scene, celebrated for her exuberant and deeply imaginative mixed media works. Drawing from a rich tapestry of influences—ranging from Rococo ornamentation and kitsch to the aesthetics of Orientalism—Bramson conjures fantastical worlds where whimsical figures dance amid lush patterns, dreamlike landscapes, and layered symbolism.
Over the course of her decades-long career, Bramson has used her art to explore themes of identity, desire, transformation, and the theatrical nature of human experience, all while pushing the boundaries of material and form.
Our clients, Julie and Mike Gustafson, are passionate collectors who deeply value preserving art that connects to Chicago’s artistic heritage. They entrusted The Conservation Center with the conservation and custom framing of a Phyllis Bramson piece, Thirteen Ways to Live, Eight Ways Chosen, Rising Up from the Ashes by Worshiping the Act.
The work after treatment.
We invite you to watch a special conversation with Phyllis Bramson and Julie and Mike Gustafson at The Center as they discuss the importance of art collecting and the significance of this particular piece. The conversation offers insights into both the artist's process and the collectors' approach to art preservation.
To watch, click below, and then scroll down to learn more about the treatment process of this fascinating work:
Condition & Treatment Process:
The piece was framed and consisted of two sheets of paper joined at the center, with minimal distortion visible throughout. The surface showed scattered scratches and a tear at the right edge. Inherent age-related discoloration was noted, and there were pinholes scattered across the paper. Additionally, the artwork’s surface was coated with a light layer of particulate film.
The frame itself exhibited a light layer of particulates, water stains, and moderate abrasions and scratches. The edges of the frame had losses to the finish, and the bottom rail was damaged. Julie and Mike chose to replace the frame with a similar style to honor the intent of Bramson while ensuring the work would be preserved for future generations.
Before treatment.
The reverse before treatment.
The piece was photographed for in-house documentation, and then the artwork was carefully removed from its secondary support using appropriate techniques. The surface was gently cleaned to conservation standards, and a non-aqueous deacidification spray was applied to the sheet to introduce an alkaline reserve, stabilizing the paper.
The tear at the right edge was repaired using Japanese tissue and wheat paste, restoring the integrity of the paper. Due to previous aggressive mounting techniques and for utmost safety of the piece, the original mount was retained. In order to freshen this original mount, a new color matched custom hand wrapped window mat was added and the piece was assembled with linen-wrapped walls that created space between the artwork and the glazing. Optium Museum Acrylic, a conservation-grade anti-reflective, anti-static acrylic glazing, was used to protect the artwork from harmful UV light.
The artwork was placed into a comparable replacement frame and installed with acid-free corrugated backing board to provide added protection. Finally, appropriate hanging hardware was attached, ensuring that the piece is securely displayed.
After treatment.
The reverse after treatment.
Thanks to thoughtful conservation and the keen eyes of Julie and Mike, Phyllis Bramson’s Thirteen Ways to Live, Eight Ways Chosen, Rising Up from the Ashes by Worshiping the Act has been carefully stabilized and preserved. This early work, rich in imagination and visual complexity, can now continue to be experienced and enjoyed as the artist intended. We’re honored to have played a part in safeguarding such a vibrant piece of Chicago’s artistic legacy.
Special thanks to Julie and Mike Gustafson and to Phyllis Bramson for sharing their insights and time with us at The Center.
