The Museum of Art's Larry Eishen, ready for a storm

If strong storms than Fay bear down on Vero Beach this hurricane season, Larry Eishen, the Museum of Art’s chief preparator, is ready for them.

A few years ago, when Frances and Jeanne had their way with Vero Beach, the familiar sculpture guarding the entrance to the museum, Takashima Shun-un’s “Lion,” took a beating from wind-blown sand. It required the talent of Jim Liccione, sculpture conservator, to bring its patina back to life.

But thanks to new systems put into place by Eishen in 2008, pieces in the sculpture garden and on the front lawn too heavy to move now will be either covered or strapped down.

Those that are covered will look as though bags have been lowered over them. In fact, that’s just what they are. The fabric that protects the popular Tom Otterness’ Trial Scene’s judge, jury and feather-eating defendant is Tyvek. Yes, that’s the Tyvek used in home construction.

Eishen did more than design the protective system — he made the pieces himself with what he calls a beginner’s sewing machine and ordinary polyester thread. Dupont manufactures two types of the fabric, Eishen explains. “The harder-surfaced of the two is used in construction and for lining fine-art crates. Because the softer Tyvek drapes well, it’s used to protect things like textiles and sculpture.” It’s breathable and water resistant, a combination perfect for Eishen’s needs. He recalls that in a colder clime, he used it to cover a trompe l’oeil mural for the winter.

Before taking over his position at the Vero Beach Museum of Art, Eishen was head preparator and facilities manager at the Aldrich Contemporary Art Museum, Ridgefield, Conn. In Vero Beach, he has more on his plate than hurricane preparation.

“My primary responsibilities include design and installation of museum exhibitions, and supervision of the physical care of works in the collection,” Eishen said. “This includes maintaining collection storage facilities, movement of objects within the museum, packing artwork for shipment, framing, mount-making, construction of gallery interiors and display furniture, exhibition lighting, and managing museum staff and outside contractors involved in these activities.”

When a storm does approach, some of the pieces of art outside the museum can be wheeled inside while others are secured to concrete columns or tied to eyebolts sunk deep in the slabs that hold them for display.

One piece that requires special attention is Haydn Llewellyn Davies’ “Trevan’s Arch.” Eishen has designed a system of nylon ratchet straps designed to keep the two pieces of the sculpture together and prevent it from “walking.”

Each sculpture’s protective kit, whether it’s Tyvek bags or nylon straps, is packed in a plastic bag with photos of the piece and detailed instructions for assembly. All of the bags are packed in a heavy wood box in Eishen’s office.

His team, which includes Liccione, is set to go into action as soon as he’s given the word by Executive Director Lucinda Gedeon, who consults with John Janssen, the museum’s director of security and technical services.

“Our goal is to secure all artworks, both indoors and outdoors, within 48 hours,” Eishen says. Collection items and works on loan to the museum are secured for the duration of the storm and aftermath in an interior storage vault.