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1.
When dealing with contemporary art, conservators have to address not only the material aspects of the artwork but also other highly complex issues. The Argentinian artist Leon Ferrari is a representative example. He created avant-garde art installations but also worked with traditional techniques. His works raise dilemmas over concepts such as authorship, authenticity, legitimacy of art. Some of his artworks only interested him as a means to express his opinions and he was not concerned about alterations in their appearance. Therefore, what should be kept in them is not in an area of certainty for conservators. An essential key for achieving a responsible and respectful conservation result, is to understand the ideology involved in each ‘art piece’ created by Ferrari. 相似文献
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Kelly McHugh 《文物保护研究》2016,61(3):126-129
Comparisons are often made between the conservation of cultural material collections, often described as ethnographic, and contemporary art collections, and indeed there are significant parallels. The stewardship of both of these types of collections can challenge traditional tenets of conservation, requiring conservators to ask themselves ‘What are we preserving?’ as preservation extends beyond the physical. The work must be placed in a broader conceptual context and the conservator must seek out those who are deemed to have the most authority – whether it is the artist, the artist's assistants and estate or the source community – to establish this context. Engagement with constituents creates valuable reciprocal relationships, which can benefit the artist, community, and museum. The relationships and the parallel practice of two seemingly disparate fields are examined using examples from the National Museum of the American Indian (NMAI) and the Yale University Art Gallery (YUAG). Conservators at NMAI, a living culture museum containing archeological, historic, and contemporary art collections, are in the unique position of working with community stakeholders with direct ties to historic collections and contemporary artists whose work is actively acquired by the museum. Conservators at YUAG, an encyclopedic museum with a pedagogical directive, are attempting to establish a more rigorous program of artist engagement to direct preservation and understanding of contemporary art collections. 相似文献
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Deena Engel 《文物保护研究》2014,59(6):404-415
Conservation expertise required for software-based art varies depending on the nature and function of its components. Our focus in this study is technology, specifically related to the impact of changes and upgrades to the operating environment that can adversely impact future exhibition of software-based art. In our research to date, we found that each specific work requires individual analysis and conservation strategies due to unique technical risks. We also concluded that artist-generated source code is a primary risk for software-based works. We then devoted the next phase of our research to a closer examination of risks associated with source code. The purpose of the research reported in this article is to investigate whether examining and documenting the source code can inform conservation practice. A corollary second goal is to define relevant best practices for documenting source code for software-based art. In order to address these questions, we selected two artworks at the Museum of Modern Art for a collaborative study using students and faculty from both the Museum Studies and Computer Science departments at New York University. This collaboration helped ensure that technology skills complemented a deep understanding of art history in the museum context. We based the methodology for our study on current software engineering practices and composed diagrams and narrative documents to reflect what we found in the source code. We also relied on artist interviews to explore the requirements and goals of the system, and user manuals to assist in understanding the implementation and physical installation of the works. It was our hypothesis that once the behavior of software-based art is understood by combining a standard software engineering approach with considerations specific to artist and museum needs, conservators and programmers will be better prepared to address changes in the operating environment. Based on our experience, we found this to be true. We conclude this paper with plans for our next phase of research. 相似文献
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《Journal Of Archival Organization》2013,11(3):57-73
ABSTRACT The records of art conservators are important for many reasons. As people consider artwork a legacy of American culture so too will they also consider the records generated by individuals who have spent their working lives guaranteeing its long-term survival. Conservators and archival repositories need to work together to ensure that records relating to the treatment of art objects in their many forms be retained and made available to researchers generations from now. Some conservators and institutions have already begun to work together, most notably the conservators who have donated their papers to the Winterthur Museum. The American Institute for Conservation of Historic and Artistic Works and The Getty Conservation Institute organized a two-day roundtable discussion in May 2003, bringing conservators and archivists together to discuss the next steps in archiving the records of art conservators. 相似文献
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The Artist Initiative at the San Francisco Museum of Modern Art (SFMOMA) is piloting models for increased collaboration between conservators and curators through joint work with artists. We seek a more integrated, holistic approach to the care and research of our collection. The project, funded by the Andrew W. Mellon Foundation, comprises five robust research engagements that serve the curatorial collecting departments of the museum (Photography, Painting and Sculpture, Media Art, and Architecture and Design). Three of the projects are monographic studies, examining the work of Ellsworth Kelly, Vija Celmins, and Julia Scher in depth, while two more are thematic, exploring modes of displaying digitally-driven design objects, and developing strategies for addressing the problem of color shift common to photographic prints made with experimental materials during the 1970s and 1980s. The Artist Initiative is also charged with developing hybrid working spaces to advance collaborative approaches to collections research at the museum's new downtown campus and at SFMOMA's new Collections Center in South San Francisco. These spaces include the Collections Workroom, a 56?sq?m (600?sq?ft) space that functions as a studio for visiting artists, a conservation laboratory, an interview suite, and a classroom at SFMOMA's downtown campus. At the Collections Center, a 121?sq?m (1300?sq?ft) Mock-Up Gallery has been built as a working model of one of the museum's new galleries. A functional exhibition space, the Mock-Up Gallery is also a venue for interviewing artists, prototyping exhibition formats, and meeting with students, scholars, museum staff, and community members. With the goal of contributing to critical discourses in contemporary art history, art conservation, and public engagement, each of the Artist Initiative projects includes a colloquium that will bring experts from multiple fields together with the featured artists. Thereafter we aim to share our findings widely through public programs and a range of publications, both digitally and in print. 相似文献
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This paper examines the preservation and curatorial approaches explored for the exhibition Silent Explosion: Ivor Davies and Destruction in Art at Amgueddfa Cymru – National Museum Wales (November 2015–March 2016). The collaboration between the artist, curator/researcher, and conservators is considered and the evolving and flexible way in which transient pieces were presented/re-presented is described. The paper offers a case study in the context of this exhibition and argues that regardless of whether it is in traditional media (such as painting) or as time-based media (unstable and open to interpretation), Davies' work challenges a perception of artworks as finished, single-authored objects. 相似文献
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This paper discusses issues surrounding the conservation of contemporary art within the private sector using a real example, a freestanding hinged and lacquered screen. The artwork developed severe damage whilst on display in a private collection when a section of the lacquer cracked and delaminated from the bottom of one of the panels, taking paint with it. This significantly compromised its pristine appearance, and preliminary observations suggested that restoration using traditional consolidation, retouching and varnishing techniques was highly unlikely to be successful. Initial contact with the artist led to negotiation with the original fabricator's studio. This highlighted the challenges involved in reinstating the badly damaged paint and resin using an approach that would still be acceptable within the code of ethics of the conservation profession, and the potential problems of sharing information with experts who are not conservators. Part painting, part sculpture and part furniture, the screen does not fall into the standard divisions of conservation practice. Its eventual treatment demanded collaboration between specialists in paintings, sculpture, lacquer work, and conservation science. The paper addresses three areas of importance to the conservation of contemporary art: the challenges of working as an interdisciplinary team to deal with complex (and sometimes conflicting) ethical approaches and material requirements; the difficulty in balancing the desire to preserve original materials with the need to produce a pristine result, and the importance of the artist's ratification of conservation to the market value of the work. 相似文献
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Most of the examples of New Ink Art in public collections in Hong Kong are generally in the form of traditional ink paintings, yet each of them have different intention from the artist, with abstract notions to deliver. They always present unexpected challenges in the course of conservation and preservation, ranging from ethical, legal, technological, technical, to time-based medium, and display issues. This paper draws the attention of museum workers and conservators to the preservation issues of New Ink Art by using two works by two internationally-renowned artists. It aims to resolve the common issues around their artworks by comparing with and making references to different solutions and approaches currently adopted in other countries, like the United States, Canada, and Europe. It clarifies the ethical concepts involved, and brings us new insight to cope with ever-changing confrontations and problems while conserving, preserving, and displaying New Ink Art. 相似文献
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In 2013, The Better Image (TBI) was contacted to examine A Play of Selves, a unique work created by artist Cindy Sherman during her graduate studies in 1975. The work is composed of 244 paper doll-like photographs of Sherman that are presented within 72 frames. During initial condition checks, it was noted that a number of individual elements had begun to show signs of chemical staining. Over the course of 2013/2014, a collaborative response was developed with the help of the artist, the artist's printer, the representing gallery, TBI staff and the owner. The main goal was to address the physical and chemical issues present and preserve this work for future exhibition and study. Determining an effective decision- making model based on a hierarchy of values was crucial before undertaking any conservation treatment, as there were several invested parties, each with a different perspective. The focus of this paper is the interplay of our responsibilities as conservators with the concerns of the artist, her gallery, her printer, and the owner to balance aesthetic vs. physical integrity of the artwork, reversibility of treatments, importance of record keeping while developing a balanced response within a world of rapidly disappearing traditional photographic papers. 相似文献
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Alcina Cortez 《Curator: The Museum Journal》2016,59(2):153-176
Popular music is deeply embedded in the dynamics of the contemporary world by means of its capacity to engender modes of privacy and publicness, to communicate emotion, and to enable us to create connections—and so to work within communities. Museums have traditionally addressed art‐music through the exhibition of musical instruments. But now that the exhibition of popular music has presented new challenges and opportunities worldwide for museum professionals, examining popular music discourses in museums is of the utmost importance in order for it to be meaningfully celebrated as instances of heritage. This paper expands on the representation of Popular Music in museums in Portugal at the beginning of the twenty‐first century by discussing a case study: the exhibition No Tempo do Gira‐Discos: Um Percurso Pela Produção Fonográfica Portuguesa at Museu Nacional da Música, Lisbon, Portugal, in 2007. Two methods of analysis are deployed: interviews with the curators, which revealed insights on their understanding of popular music, and analysis of the exhibition through discourse analysis, specifically through the lens of the analytical concepts genre and register. Although the curators had themselves previously developed insightful and innovative concepts with regard to popular music, discourse analysis reveals how, in this instance, the museum practices were primarily inherited from past traditions, and so failed to convey the meanings previously envisioned by the curators. In order for genuine public engagement with museum exhibitions about music, a collaboration is required between the music studies and museum studies professionals. Only through such a collaboration can it be ensured that those contemporary dynamics are present and meaningful. 相似文献
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David Carrier 《Curator: The Museum Journal》2011,54(2):181-189
Abstract Art historians can learn a great about art from a close study of museum installations. Knowing how to do installations is implicit practical knowledge, which perhaps doesn’t need to be made explicit. Hanging is a practice mastered by gifted curators who don’t write out the rules. And so, it is unfortunate that there is too little documentation of these installations. Assembling a wide range of examples, this essay shows what art historians can learn from the practice of curators. 相似文献
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《文物保护研究》2013,58(3):30-33
AbstractIs the conservation profession dividing into two groups – specialized technicians often working in private practice, and generalists in the heritage sector whose work is often in preventive conservation covering a diverse range of materials? If so are we moving away from conservation specialists, who contribute to the wide range of processes involved with object care and research within particular curatorial disciplines? We examine the increasing distancing of conservators from collections and their curatorial colleagues and will assess how this is reflected in the changing nature of training courses, and the impact this may have on museums in the future. These issues are discussed with reference to the National Museum of Wales, which has recently undergone an externally refereed conservation review. The outcomes of this can be viewed in relation to other institutions employing conservators. 相似文献
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Sanneke Stigter 《文物保护研究》2016,61(3):227-232
This paper proposes autoethnography as a new approach for conservators. It allows for a process-based assessment that foregrounds the conservator's personal input during conservation treatments and installation procedures. It addresses the cognitive processes that steer towards the desired result in a chain of micro-level decisions. Two examples relating to the work of conceptual artist Jan Dibbets illustrate the approach. One provides insight into the conservator's deliberations during a conservation treatment, the other demonstrates the co-constructed nature of the artist interview as a negotiated text. These conservator's testimonies include and enforce the reflexivity that is needed to remain critical, not only when managing complex artworks. The methodological approach of autoethnography enriches the conservation of cultural heritage in general. 相似文献
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ABSTRACT This paper seeks to give insight into conservators' reflections about their practice and professional role. Ecclesiastical art from and in churches is an example where a variety of claims can be present and trigger diverse approaches to conservation and restoration. In this study we approached ecclesiastical art as a gateway to insight into conservator-colleagues' experiences and their views on decision-making, prevailing ethical boundaries, and the conservator's professional role. To gain access to the practitioners' own words and reasoning, in-depth interviews with seven conservators were chosen as a method. The interviews were analysed using a variant of qualitative analysis with an ideal of a theory-free starting point and by taking a constructivist and inductive approach. Through coding, themes and theories emerged from the data, which gave insight into a Norwegian status quo of practice, three emerging categories or topics caught our special interest and are described and discussed in this paper. The category, Conservation is a narrow path, gives an account of internal and external restrictions in the field. Internalised ethical restrictions and financial limitations are most often determining factors for conservator's decisions. The second category, Acting on behalf of objects, shows that conservators tend to feel obliged to the objects rather than to stakeholders. They understand their roles as defenders and mediators of the object. Conservators' potentially emotional closeness to the object is discussed. The experts should have the strongest voice, refers to the fact that stakeholders' opinions are only sparingly involved in decision-making among the interviewed conservators. Instead, projections of possible interests of stakeholders are often part of the conservators' basis for decision-making. However, external preconditions, as the mandates given by authorities, and financial issues play a role in the rather top-down nature of communication and decision-making. In light of (recent) claims for more people-based decision-making there seems to be a gap between theory and practice. Nonetheless, the authors argue that the conservator's engagement for and with the material object still is a necessary point of departure for conservation endeavors. 相似文献
16.
This article presents a case study of the design, development and evaluation of a science museum exhibition called Planetary Landscapes: Sculpting the Solar System. The exhibition was created by Chabot Space and Science Center in Oakland, California, in collaboration with the artist Ned Kahn. (A slightly smaller version has been traveling to science museums around the country, and has been sent to the Middle East and Asia.) This exhibition affords a chance to explore the work of a gifted artist as he seeks to merge art and science and create beautiful inquiry‐based exhibits. The story also relates how a museum design team and an evaluation team sought to support the exhibition design in ways that would augment and not interfere with the expertise of the artist. 相似文献
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The aim of this study is to find the critical factors that influence Taiwan's national museum business performance based on its curators’ views. The study explored the causal relationships among the criteria that emerged in the study and of each sub‐criteria. Since developing a business strategy is a multiple‐criteria decision‐making (MCDM) problem, this study adopted the causal‐effect model of decision‐making trial and evaluation laboratory (DEMATEL) technique. The DEMATEL technique simplifies and visualizes the interrelationships among decision‐making criteria. The study identified four core criteria – benefits, opportunity, costs, and risks, as key influencers in the national museum business performance. Each key criteria was supported by a set of sub‐criteria which, when considered together, produced an influential network relations map. The results of this study provided Taiwan's national museum curators with an idea‐based understanding of how to create business and marketing strategies that could enhance exhibition features, experience activities, and facilities that could be linked to satisfaction of visitors’ desires and offer a potentials strategy for assessing likelihood of return visits. 相似文献
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Timothy J. Chester 《Curator: The Museum Journal》2011,54(2):191-206
Abstract Michigan—Land of Riches: Re‐Examining the Old Grand Rapids Public Museum was a month‐long temporary installation that took over the disused halls of a defunct regional natural history museum facility and proved that even the museum’s trash can be recycled for the benefit of community. A project to repurpose the old artifacts and dioramas as art involved student artists and art faculty from seven Michigan colleges, universities, and art institutions. Although the museum staff assisted with all object handling and the curatorial staff ensured that the stewardship of the collections was not compromised, the museum’s curators were absent in issues of content and interpretation. By the standards of most visitors, the participating artists, and the museum’s staff, the event was a wild success. 相似文献
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Antonio G. Valdecasas Virginia Correia Ana M. Correas 《Museum Management and Curatorship》2006,21(1):32-43
The first natural history collections opened to the public were inspired by a sense of curiosity and wonder about the products of nature. They were ‘cabinets of curiosities’ that offered a first-hand interaction between owner and visitors. Nowadays, these two facets of the museum experience—dialogue and wonder—have been lost, in part, due to the information overload coming via the media and the impersonal nature of the museum visit. This paper offers some reflections on the evolution of the museum visit, suggests some ways to rediscover this ‘sense of wonder’ and provides ideas on how to promote two-way communication with museum visitors. Two examples of exhibitions are offered as illustrations of the points discussed. 相似文献