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Installation art and the museum
Installation art has become mainstream in artistic practices. However, acquiring and displaying such artworks implies that curators and conservators are challenged to deal with obsolete technologies, ephemeral materials and other issues concerning care and management of these artworks. By analysing three in-depth case studies, the author sheds new light on the key concepts of traditional conservation (authenticity, artists intention, and the notion of ownership) while exploring how these concepts apply in contemporary art conservation. Based on original empirical research and cross-case analysis, this ground-breaking study offers a re-examination of traditional conservation values and ethics, and argues for a reassessment of the role of the conservator of contemporary art.
Doing Artworks
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Conservation of Contemporary Art
This open access book investigates whether and how theoretical findings and insights in contemporary art conservation can be translated into the daily work practices of conservators or, vice versa, whether and how the problems and dilemmas encountered in conservation practice can inform broader research questions and projects. For several decades now, the conservation of contemporary art has been a dynamic field of research and reflection. Because of contemporary art’s variable constitution, its care and management calls for a fundamental rethinking of the overall research landscape of museums, heritage institutions, private-sector organizations and universities. At first, this research was primarily pursued by conservation professionals working in or with museums and other heritage organizations, but increasingly academic researchers and universities became involved, for instance through collaborative projects. This book is the result of such collaboration. It sets out to bridge the “gap” between theory and practice by investigating conservation practices as a form of reflection and reflection as a form of practice.
Pioneering Participatory Art Practices
Participatory art practices allow members of an audience to actively contribute to the creation of art. Annemarie Kok provides a detailed analysis and explanation of the use of participatory strategies in art in the so-called ›long sixties‹ (starting around 1958 and ending around 1974) in Western Europe. Drawing on extensive archival materials and with the help of the toolbox of the actor-network theory, she maps out the various actors of three case studies of participatory projects by John Dugger and David Medalla, Piotr Kowalski, and telewissen, all of which were part of documenta 5 (Kassel, 1972).
The Perpetuation of Site-Specific Installation Artworks in Museums
Site-specific installations are created for specific locations and are usually intended as temporary artworks. The Perpetuation of Site-Specific Installation Artworks in Museums: Staging Contemporary Art shows that these artworks consist of more than a singular manifestation and that their lifespan is often extended. In this book, Tatja Scholte offers an in-depth account of the artistic production of the last forty years. With a wealth of case studies the author illuminates the diversity of site-specific art in both form and content, as well as in the conservation strategies applied. A conceptual framework is provided for scholars and museum professionals to better understand how site-specific installations gain new meanings during successive stages of their biographies and may become agents for change in professional routines.
Activating Fluxus, Expanding Conservation
This is the first book to address the care and preservation of Fluxus works, reimagining the afterlife of Fluxus by positioning conservation as an evolving, interpretive and generative framework. Fluxus radically transformed artistic practice by challenging the entrenched preconception that artworks endure, unchanged and confined to a singular physical manifestation. Moving beyond conventional, object-based approaches, this interdisciplinary volume brings together artists, scholars, conservators and curators from diverse cultural and theoretical perspectives to explore how the ephemeral, participatory and intermedial forms of Fluxus demand an expanded vision of conservation—one grounded in...
Art
This book presents a detailed account of authenticity in the visual arts from the Paleolithic to the postmodern. The restoration of works of art can alter the perception of authenticity and may result in the creation of fakes and forgeries. These interactions set the stage for the subject of this book, which initially examines the conservation perspective, then continues with a detailed discussion of notions of authenticity and philosophical background. There is a disputed territory between those who view the present-day cult of authenticity as fundamentally flawed and those who have analyzed its impact upon different cultural milieus, operating across performative, contested, and fragmented ground. The book discusses several case studies where the ideas of conceptual authenticity, aesthetic authenticity, and material authenticity can be incorporated into an informative discourse about art from the ancient to the contemporary, illuminating concerns relating to restoration and art forgery.
Performance
This book focuses on performance and performance-based artworks as seen through the lens of conservation, which has long been overlooked in the larger theoretical debates about whether and how performance remains. Unraveling the complexities involved in the conservation of performance, Performance: The Ethics and the Politics of Conservation and Care (vol. 1) brings this new understanding to bear in examining performance as an object of study, experience, acquisition, and care. In so doing, it presents both theoretical frameworks and functional paradigms for thinking about—and enacting—the conservation of performance. Further, while the conservation of performance is undertheorized, perf...
Paik's Virtual Archive
Two works -- Conceptual and material aspects of media art -- Musical roots of performed and performative media -- Zen for film -- Changeability and multimedia art -- Time and conservation -- Heterotemporalities -- The material and the immaterial archive -- Archival implications -- Conclusion: the many archai of conservation and curation
Art, Conservation and Authenticities
One of the aims of the 2007 conference Art, Conservation and Authenticities: Material, Concept, Context, was to explore the (seemingly embattled) position of the term 'authenticity' within conservation practice, not so much to progress definitions or rehearse existing debates as to test its continued relevance to a broad range of conservators, examine its on-going application in the assessment of 'conservation of objects', and consider the critical potential of its pluralized form - 'authenticities.' The papers delivered at the conference, and those formalised for publication here, have engaged these various threads with energy and creativity. Drawn from a range of backgrounds and across various 'specialisms', the authors present a range of discussions that offer various responses, but which all confirm the still-prominent position that authenticity occupies in the evaluative aspect of a conservator's work.
