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1.
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
2.
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
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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
5.
While working together on tradition-based and contemporary works at the Smithsonian's National Museum of African Art (NMAfA) and in private practice, the authors found that their expertise in ethnographic conservation can be applied to the conservation of contemporary works. The treatment approach to ethnographic works has evolved over decades, shifting from alteration of original surfaces and heavy restoration to an emphasis on preserving the original integrity of the artwork through minimal intervention. This paper describes the evolution of ethnographic object conservation regarding surface alteration, while specifically focusing on African objects, and discusses applications of this approach to the conservation of contemporary art. The historical change in treatment attitudes is presented using examples from NMAfA's collections to underscore why the profession developed a minimal intervention approach and to argue for the relevance of this approach to related contemporary media. 相似文献
6.
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
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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
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.
This poster presents the results of an investigation carried out to assess the different possibilities that a discipline belonging to the field of social psychology, and defined by the social representation of the subject and thus different from the conservation/restoration field, could contribute to the study of the relationships between those involved in the production and preservation of contemporary art, the artist and the conservator-restorer. 相似文献
10.
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
11.
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
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In fine arts, contemporary artists seek to showcase their artistic skills and concepts. There is very little awareness by most artists on the quality of materials they use in art production and the conservation needs of contemporary artworks which pose conservation challenges as materials used and the physical quality of artworks produced are secondary to what the artists seek to express. Of prime interest to them is the expression of concepts through various genres of art creation. However, the quality of material used by most artists is largely affected by their financial situation and inadequate knowledge on the durability of such materials. Artworks created using recycled materials such as found objects and cheap materials like poor quality paint on paintings, low grade paper in artworks, or poor quality wood present conservation challenges to professionals in galleries. The end product are artworks made from composite materials, some stable and unstable. Thus professionals are faced with a dilemma to reconcile the conservation needs of these artworks and the artists’ expression of their concepts. Moreover, in the absence of remedial conservation measures, artworks are prone to deterioration. This is worsened by dwindling donor and government funding which negatively impacts on the gallery's capacity to conserve the art. Additionally, conceptual expression, artistic creativity, and commercialisation of the art are of priority over conservation. Therefore there is need to maintain a balance between the need to express concepts and commercialise the art on one hand and to conserve the contemporary artworks on the other hand. 相似文献
13.
Rosario Llamas-Pacheco 《文物保护研究》2018,63(8):441-449
This article presents the intervention process carried out on a work of art created by artist Yolanda Gutiérrez Acosta, using a series of ephemeral materials such as butterfly wings and agave thorns. The work, an installation from 2002, is entitled ‘Efímeras’ (‘Ephemera’) and consists of 12 flowers mounted on acetate sheets and attached to the same with vinyl acetate copolymers and acrylic acid esters (Mowilith®). These flowers are installed on the floor in a bed of dried flowers. The conservation of contemporary art can lead to some previously unimaginable problems for restorers. Current works of art are somewhat material in nature, but they also have a conceptual dimension that is essential for their artistic interpretation. The artist’s participation in the decision-making process prior to the restoration was quite useful. The passage of time, its effect on the work, and the need to understand the possibility of the demise and destruction of the work were implicit as of the onset of its creation, such that, according to the artist, we are forced to reflect upon the possibilities of its future state. 相似文献
14.
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
15.
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
16.
Over a period of six years, the Queensland Art Gallery / Gallery of Modern Art and Chinese artist Cai Guo-Qiang developed and realized the major art installation Heritage (2013). The artwork comprises 99 life-sized imitation animals congregating at a waterhole and covers 1104 m2 of floor space. This paper reviews aspects of the commission, construction, and completion of Heritage – a very large-scale, technically complex contemporary installation. From commission to acquisition, the project was a highly collaborative undertaking and is an interesting example of unconventional conservation. This paper, written from curatorial and conservation perspectives, describes this cooperative endeavour. 相似文献
17.
Sara A. Moy 《文物保护研究》2016,61(3):137-141
Conservators who work with contemporary materials are experiencing a paradigm shift that affects not only their role, but also the decision-making process associated with each unique work. Importantly, such actions sometimes contradict established preservation doctrine. This paper describes the challenging preservation efforts associated with a large-scale sculpture/installation produced in 2004 by Gu Dexin. Those efforts contradicted many of the standards and ethics of conservation, particularly considerations related to compromising the life of a given work. Ultimately, the decision made in this case led to the demise of that object. This paper will include information obtained from the various stakeholders — including the donor and the artist — and a compendium of the exhaustive considerations that facilitated the final decision. 相似文献
18.
This paper looks at the implications of the loss of site illustrated by three diverse, site-specific new media art case studies: Taking Pictures by Janet Cardiff, Rio Videowall by Dara Birnbaum, and net.flag by Mark Napier. Focus will be placed on the challenges to permanence of new media art by exploring the impact of the expansion of the Saint Louis Art Museum and changes to geography of the surrounding park on Taking Pictures. The preservation of Taking Pictures is considered in the context of the other two case studies in terms of physical site-specificity vs. mediated site-specificity. The impact of new media technology, artist intent, and participant's interactions are considered in terms of the functionality, viability, and preservation of site-specific new media art. 相似文献
19.
Nanhee Lee 《文物保护研究》2018,63(3):163-170
Currently, about ten Goryeo dynasty (918–1392 CE) sutra boxes are preserved in museums in Korea, Japan, the United States, the Netherlands, and the United Kingdom. This article is the result of an examination of a sutra box in the collection of the Rijksmuseum, Amsterdam (hereafter ‘Rijksmuseum sutra box’), which was first introduced to a European audience in the Transactions and Proceedings of the Japanese Society, in 1913–1914. The Rijksmuseum sutra box differs from other Goryeo sutra boxes. With its altered structure and modified motifs, this box bears significant value, not only for the research of thirteenth-century Goryeo mother-of-pearl art, but also for the study of cross-cultural adaptations in East Asian lacquer art. This article investigates the date of manufacture of the sutra box by analysing the manufacturing techniques and its various original and modified parts. For this, an X-ray radiograph was carried out for the first time. As a result, discoveries have been made regarding the structure and decoration of the lower part, which has been modified and is different from Goryeo mother-of-pearl sutra boxes. Finally, this paper reconsiders conservation and repair of Goryeo sutra boxes, as illuminated by an understanding of the original and repaired parts of this box. 相似文献
20.
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