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1.
The Hamburger Kunsthalle conservation department started a two-year funded project in 2015, which specifically covers the preservation of all ten slide-based artworks in the collection, with a total of about 1700 slides. The task at hand, to examine and conserve the slide-based artworks, is driven by the need within the profession to explore ways in which these works can continue to be displayed. This is new terrain for conservators of modern and contemporary art, whose responsibility is dedicated to a broad-ranging collection of artworks. From the viewpoint of a modern and contemporary art conservator with no training in time-based media conservation, the article describes the current conservation strategy of slide-based artworks, with case studies and their associated conservation decisions. 相似文献
2.
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
3.
Stavroula Golfomitsou 《文物保护研究》2016,61(3):55-60
In recent years Qatar has invested a significant sum of money on exhibitions of contemporary artists and public art. This paper discusses decision-making processes in the conservation of contemporary artworks installed in newly emerging art markets such as Qatar, where there are no established practices. In 2014, Richard Serra's East–West/West–East, an installation of four vertical plates made of weathering (Corten?) steel, which span one kilometre at heights so as to reach the level of the surrounding gypsum plateaus, was installed in the Brouq Nature Reserve near Zekreet desert, two kilometres from the sea in the western part of Qatar. The artwork is already considered by some a landmark for the isolated area. The plates have started to develop protective corrosion layers, although Corten? is not completely corrosion resistant when located near coastal sites. They have also started to bend and are heavily inscribed by visitors. Conservation of public art is complex, as site-specific artworks are linked with the landscape and defined by the relationships they develop with the public. Art installations of this magnitude demand not only conservation measures but also a management plan. The isolated location, the scale of the artwork, the aggressive environment, and the lack of supervision and monitoring of the area challenge current practices but offer an opportunity to develop methods to preserve art of site-specific art in new environments and diverse audiences. Monitoring will allow a better understanding of the interactions of visitors with the artwork and will shed light on the material's behaviour in this specific environment. 相似文献
4.
Lydia Beerkens 《文物保护研究》2016,61(3):12-16
Conservation of modern art has in the last 20 years developed from a singular case-by-case approach into a full and independent specialization in conservation with its own strategy, theory, and ethics. The methods applied today are both newly developed and partly a continuation of traditional conservation standards. New is the special focus on the artist and his intent, and on the defining of the various artistic concepts, as these elements and the artist as a stakeholder, play decisive roles in decision-making on optional treatment interventions. Challenging new materials (plastics, light, food, kinetic art, or re-used objects) require ongoing research to formulate specific instructions, and special designed guidelines for conservation, putting a new perspective on collections care. As contemporary art may be produced by the artist, by assistants or industry, and can be made of artists' materials, anything from the hardware store, re-used or reworked objects or intangible elements, the reassessing of definitions on authenticity and originality eventually lead to the reformulation of standard rules on retouching, reversibility and in particular reconstruction. Thus new conservation strategies have been designed for various types of contemporary art, where applicable built from old standards. 相似文献
5.
In recent years, many international initiatives have sparked a debate on guidelines and criteria for documenting existing installations and environments. Nevertheless, a comparison between those environments, and lost or reproduced ones, still needs to be closely considered. This becomes even more interesting in the case of works that were made by artists no longer alive. Starting from the study on Italian artist Lucio Fontana's historical environments, we show how a historically accurate reconstruction, based on the analysis of various sources (original documents, letters, articles, interviews and videos, as well as critical essays) can be considered as a conservation strategy for works that were originally created as ‘ephemeral’, but later became fundamental within art history. The data and metadata can be used as a second step for the reconstruction of the environments, creating ‘replicas’ that closely mimic the artist's intent and that can then be documented and properly preserved. On one hand, the outcomes of the research presented is that of understanding to what extent it is possible to achieve a fair rendition of Fontana's environments and thus foster their proper appreciation. On a second and more practical level, we will present a study of the first exhibition centered on the reproduction of the artist's environments, which will be held in HangarBicocca, Milan, Italy, in 2017. A scientific and philological approach will allow us to fully respect the original artworks and the context in which they were produced. The reconstruction will also be the occasion to collect data regarding the materials that Fontana used extensively, and to gather information about the companies that produced them, as well as about the past and present quality of such materials, and the possibility of reproducing them today. This approach seeks to investigate the interplay between theory and reconstruction materiality through the double lens of historical research, on one hand, and contemporary conservation and museology debates on the other. 相似文献
6.
Spectrometric handheld light meters that can provide adequate data for evaluation of replacement bulbs for contemporary art objects are now commercially available. This approach was taken to assess potential replacements for the incandescent street lamps in Chris Burden's Urban Light at LACMA, Los Angeles, USA. These meters are also useful tools for monitoring and characterizing museum lighting, which are currently done with illuminance (lux) meters. The new spectral light meters will enable conservators to tailor lighting recommendations for individual artworks, when spectral information from these meters is combined with damage function data on artists’ materials. The latter information can be obtained for some materials by a small modification to the microfade testing procedure, as exemplified by microfading colored samples Henri Matisse created during the design phase for La Gerbe. 相似文献
7.
Rosario Llamas-Pacheco 《文物保护研究》2020,65(8):487-498
ABSTRACT This article analyzes different ontological categories and how they relate to the conservation of contemporary art. Faced with the necessity of apprehending the work of art from an ontological point of view, a theoretical approach is made on the concepts that most affect the conservation of contemporary art: quiddity, truth-authenticity, identity, quality, consistency, and interpretation. These are analyzed from an empirical perspective, based on the experience of conservation and restoration. Since conserving and restoring require making decisions that will affect the material and conceptual plane of the works, several possible paradigms that must be introduced into the deontological code of the profession are analyzed. In addition, the study of a new paradigm is provided, that of the death of the work of art. This paradigm can serve as a frame of reference, given the impossibility of bringing the ‘Truth’ of the artwork into the world of the sensitive. This may occur due to different conditioning factors and limitations of a material, technical, or intentional type, which affect issues that were once established as essential to the entity. On the other hand, different types of time that are related to the conservation of contemporary art are studied: biological time, the eternal present of the work, time as a constructor agent, and destructive time as a facilitator of the appearance of ruin or ruin-relic in the work of art. 相似文献
8.
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
9.
ABSTRACTIt has been widely acknowledged that reinstallations and re-executions of contemporary artworks substantially rely on available documentation. Especially for installations and performances it is crucial to record the artist’s intent, past iterations, and tacit knowledge involved in staging the artwork. The growing presence of contemporary artworks in museum collections increases the importance of documentation as a central focus of collection care. However, collections management systems have limitations in adequately presenting these often rich forms of documentation. Consequently, documentation required for presenting a specific complex artwork is often dispersed across multiple systems, drives, and dossiers inside various departments. In recent years, several initiatives responded to these challenges by implementing a digital platform supporting the conservation of contemporary art. Collaborative networked software such as wiki came into focus as a prominent choice for managing the related documentation. The wiki promises to integrate diverse material in one place and accommodate much-needed requirements such as multiple iterations of an artwork, relations between its elements, and multimedia content. This paper takes the case of San Francisco Museum of Modern Art (SFMOMA)’s experimental use of MediaWiki to determine whether and under what conditions a wiki is capable of supporting collection care sufficiently in terms of documenting time-based media art. The case further illustrates the consequence of adopting a content management system as knowledge base for conservation. While collections management systems are designed primarily to handle objects using forms, wikis are publishing platforms in the first place and provide a different kind of framework for artwork records. They are designed to employ text and media to compose articles. We propose to conceptualise this consequential role of conservator as a manager of content, an editor. 相似文献
10.
A wooden summer house in Szumin, built between 1969 and 1970, is a spatial manifesto for the Open Form — a theory formulated by Polish architect, artist, and educator Oskar Hansen (1922–05). Oriented towards participation, process, and change in the hierarchy between the architect and the user, or the artist and the spectator, Hansen's theory formed a strong conceptual basis for his architectural, artistic, and pedagogical practice. Being a faithful expression of these ideas, the house is a spatio-temporal, transitional object, defined by constant adaptation to the changing needs of its users. In 2014 the property came into the custody of the Museum of Modern Art in Warsaw, Poland. A conservation strategy was developed to preserve both the idea and the physical aspect of the site. With its dominance of concept and artist's intent, this house has a stronger resemblance with a work of art than with built heritage. Therefore, the procedures developed for the conservation of contemporary artworks have been applied. These tools help to evaluate the range of necessary interventions and to set up a conservation programme. 相似文献
11.
Hanna Hölling 《文物保护研究》2016,61(3):79-83
Fostering conservation as a discursive and contextual practice, this essay examines transitional media that necessitate new ways of thinking about continuity. It looks at two examples of artworks with the objective of unraveling the varying modes of their transition. An event score, event-performance, object, and film drawn from the artistic legacies of George Brecht and Nam June Paik illustrate that ideas of permanence and impermanence are linked with an understanding of artworks in time and duration. While conservation reveals itself as an intervention in the temporal dimension of artworks, the theories of duration allow us to better understand the reciprocal relations between materials and meanings. In doing so, these theories acknowledge and attempt to make sense of the performative materiality of these works. 相似文献
12.
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
13.
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
14.
15.
Kate Moomaw 《文物保护研究》2016,61(3):130-136
Participatory art is a contemporary movement requiring viewers to take an active part in the artwork, by means ranging from interaction with materials to creative contribution. Artistic developments in the twentieth and twenty-first centuries, such as political and social engagement, led to the rise of participatory practices. Concurrently, museums have reacted to falling attendance and cultural shifts by seeking to create more engaging experiences for visitors. At the Denver Art Museum, this has led to an increased interest in displaying and collecting participatory art. Through case studies of works in the collection of the Denver Art Museum, Walking in Venus Blue Cave (2001) by Ernesto Neto and ¿Being Home? (2009) by Rupprecht Matthies, this paper explores the conservation of participatory artworks in museum collections, including their maintenance on display, long-term preservation of their interactive nature, and the possibility of involving communities in conservation actions and decision-making. 相似文献
16.
Sherri Irvin Author Vitae 《Museum Management and Curatorship》2006,21(2):143-156
In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. 相似文献
17.
Maria Chatzidakis 《文物保护研究》2016,61(3):17-23
Street art, public murals, and graffiti are forms of contemporary art which flourish in the urban environment. The current socioeconomic and political crisis in Greece has rendered Athens a living city canvas that attracts artists, art lovers, young people, tourists, journalists, and photographers. The conservation of street art in extreme outdoor conditions is a new area of interest for conservation research and practice. Since 2010 the Conservation of Wall Paintings Laboratory of the Department of Conservation of Antiquities and Works of Art (CAWA) of the Technological Educational Institute (TEI), Athens has been engaged in a project to explore ethics, carry out documentation, and initiate new research into street art and its conservation. Since 2012, Street Art Conservators (St.a.co.), a team comprising academics, conservators, and students from CAWA has worked in the streets of Athens for the preservation of street art. The protection and conservation of street art require the creation of a critical mass of people who are interested in the study and preservation of street art, co-operative conservation work and research, and the documentation and digital mapping of street art as an alternative means for its preservation. 相似文献
18.
《文物保护研究》2013,58(3):245-255
AbstractThe Minimalist work of Donald Judd exemplifies modern and contemporary works of art that utilize the appearance of bare metal as an integral component of the artist's intent. Decades after fabrication, disfiguring patterns have appeared on the surfaces of many such works. These patterns are not related to the formation of tarnish or other corrosion effects caused by improper storage, display, or transportation and handling; rather, they are associated with the initial processing of the metal sheets and subsequent fabrication of the art objects. Due to the challenges of obtaining analytical data directly from works of art, the authors present results from industrial sheet metal coupons prepared to simulate materials and techniques used in Donald Judd's copper and brass artworks. Attenuated total reflectance Fourier transform infrared spectroscopy carried out on each side of 55 coupons indicated the presence of organic materials such as long-chain aliphatic hydrocarbons, esters, and ethers, consistent with the types of compounds used in industrial lubricants. In addition to conducting the first systematic instrumental analysis of these residues, the authors propose the use of specific solvents for their removal as an alternative to abrasive methods, which cause removal of original surface from the objects. 相似文献
19.
Yvonne Shashoua 《文物保护研究》2016,61(3):208-213
Analysis suggests that progress in conservation of plastics objects and artworks can be described by a series of overlapping mesocycles. Focus has been placed for periods of 5–10 years each on determining the degradation pathways in the 1990s, developing strategies to inhibit those pathways from the late 1990s and, since 2006 on actively stabilizing and treating the symptoms of degradation. The primary driving forces behind the direction and rate of progress within each of these three mesocycles have been different and specific. The controlling factor in understanding degradation pathways for heritage plastics has been the origin of the data describing lifetimes. By contrast, mesocycles in developing suitable storage and display microclimates for plastics have mirrored preventive conservation practices for natural polymeric materials. The rate of the third mesocycle, interventive conservation, has been driven by the need to balance the requirements for reversibility in conservation practices with the artist's intent and significance. Developments within each of the three mesocycles from the 1990s to date are discussed in this article. Environmental science and toxicology of waste plastics offer a novel source of information about real time degradation in terrestrial and marine microenvironments that seems likely to contribute to the conservation of similar materials in contemporary artworks. 相似文献
20.
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