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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
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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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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.
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
5.
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
6.
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
7.
张广 《自然科学博物馆研究》2023,(1):56-64
动物剥制标本作为自然博物馆、高校博物馆、部分综合性博物馆以及科研机构标本馆的重要收藏对象和展示资源,具有极高的收藏价值、展览价值、艺术价值、科研价值和科普教育价值等,但在长期保藏过程中,因受制作工艺、环境条件、人为活动的影响,极易受到损坏。本文论述了馆藏动物剥制标本的常规管理、保藏环境管理以及预防性保护,旨在为我国自然标本管理,特别是为动物剥制标本的管理和保藏工作提供参考资料。 相似文献
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Renata F. Peters 《文物保护研究》2016,61(3):183-187
This paper uses a range of case studies from contemporary art and indigenous collections to explore synergies between the disciplines and pose questions about contemporary perceptions of condition and durability. The idea that value is only connected to original material or specific perceptions of condition has been challenged repeatedly by the very makers and primary users of these collections. Nevertheless, old expectations in relation to collections may still affect conservation processes. The conservator is positioned at the center of these tensions, trying to understand, negotiate and mediate the interests and values of dynamic layers of significance associated with the object being treated. Attempting to homogenize or generalize these relationships would directly affect the complexity of the meanings of the artworks and run the risk of hollowing them. 相似文献
10.
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
11.
This study examines usage patterns of psychology e-books and equivalent print titles held in Texas A&M University (TAMU) Libraries collections. The authors sought to determine how well PsycBOOKS, a specialized subject-based collection, serves users' needs. Results support evidence-based collection acquisition and management decisions of books in print and electronic formats. Major findings indicate that PsycBOOKS is a critical and cost-effective resource supporting the TAMU user community and that hybrid print and electronic collections should coexist to support a variety of user information needs. 相似文献
12.
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
13.
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
14.
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
15.
The aim of this paper was to discuss the role of food preservation science and technology in the conservation of complex food-based installations. By introducing the principles of food science and food preservation into the decision-making process for the conservation of contemporary art, more insight on conservation and presentation possibilities was created. Considering the installation Piece in Ghent (P.I.G.) by Jason Rhoades, which contains French fries, the principles of food preservation science were evaluated. The preservation of the original foods was discussed against the potential of a reproduction of the foods. The context for conservation was determined by analysing the artist's intention, the production method of the artwork, and the degradation processes of the food materials. From the results obtained, guidelines to preserve the ‘original’ foods were proposed, as well as guidelines to reproduce foods that can last longer. The study demonstrated that food preservation science contributed to the development of effective strategies for the conservation of contemporary food-based art. 相似文献
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《资料收集管理》2013,38(2):93-107
For many research libraries, remote storage of collections is commonplace and an inevitable strategy for handling collection growth. Despite the prevalence of storage collections, little documentation of collection management strategies vis à vis storage exists in the literature. The processes employed at the University of Michigan Library for collection transfers are described, including an analysis of collection use data to develop criteria for storage. In addition, collection management issues which arise as storage collections mature are identified and questions for future storage programs raised. 相似文献
18.
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
19.
自然科学博物馆作为重要的公共文化机构,承载着传播自然历史和科学知识的职责。标本藏品是自然科学博物馆的根基,随着标本藏品的不断积累,传统标本藏品管理方式面临困境。在博物馆智慧化建设背景下,智慧化理念与新技术为标本藏品管理带来了新机遇。本文以天津国家海洋博物馆为例,在分析标本藏品管理工作面临主要难点的基础上,回顾智慧化藏品管理系统建设工作实践,以期为自然科学博物馆标本藏品管理提供参考和借鉴,并思考未来藏品数据的应用方向。 相似文献
20.
《Legal Reference Services Quarterly》2013,32(4):7-52
Abstract This guide offers extensive resources on the intersection of intellectual property law and contemporary visual art and on the application of the doctrine of fair use within this context. It is designed to assist attorneys, museum administrators, art collectors, art dealers and artists in handling litigation involving copyright litigation. It is particularly focused on copyright claims arising out of the art movement known as “appropriation,” which has emerged as a litigation target due to its use of familiar images and image genres drawn from public and consumer media. The guide strives to aid artworlders and attorneys new to art litigation in developing an understanding of the limitations and extent of fair use protections for visual artwork. 相似文献