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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.
Performativity in the Gallery
This book responds to the increase in live art programmed in many galleries and museums. The essays challenge the exclusion of live art from the the art history canon and explore participation, interactivity, digital and performative practices as presented in gallery spaces. Contributors include curators, academic scholars and practicing artists.
The Artist Interview
In order to preserve and maintain contemporary artworks, we need authentic, content-related and technical information which we can obtain by interviewing the artists who produced them. The SBMK (Foundation for the Conservation of Contemporary Art) and RCE (Cultural Heritage Agency of the Netherlands) worked together for years to develop guidelines and good practices. In 2012 a book will be published: "The Artist Interview". For conservation and presentation of contemporary art. Guidelines and practice. This handbook provides a scenario including tips and checklists for conducting artist interviews, as well as ten sample interviews that give an insight in the (im)possibilities of an artist interview as a tool.
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).
Robert Smithson
Robert Smithson, who achieved cult status in the international art scene during the 1960s and 1970s, continues to generate great interest among artists and curators to this day. This book brings together a complete selection of archival material related to the work - ranging from photographs, film scripts and drawings to original manuscripts and letters - spread over different archives in the Netherlands and the US.
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.
The Explicit Material
The Explicit Material gathers varied perspectives from the discourses of conservation, curation and humanities disciplines to focus on aspects of heritage transmission and material transitions. The authors observe and explicate the myriad transformations that works of different kinds - manuscripts, archaeological artefacts, video art, installations, performances, film, and built heritage - may undergo: changing contexts, changing matter, changing interpretations and display. Focusing on the vibrant materiality of artworks and artefacts, The Explicit Material puts an emphasis on objects as complex constructs of material relations. By so doing, it announces a shift in sensibilities and understandings of the significance of objects and the materials they are made of, and on the increasingly blurred boundaries between the practices of conservation and curation.
An Introduction to the Making of Western Art
This book is the first introduction to Western art that not only considers how choice of materials can impact form, but also how objects in different media can alter in appearance over time, and the role of conservators in the preservation of our cultural heritage. The first four chapters cover wall and easel paintings, sculpture, drawings, and prints, from the late Middle Ages to the present day. They examine, with numerous examples, how these works have been produced, how they might have been transformed, and how efforts regarding their preservation can sometimes be misleading or result in controversy. The final two chapters look at how photography, new techniques, and modern materials prompted innovative ways of creating art in the twentieth century, and how the rapid expansion of technology in the twenty-first century has led to a revolution in how artworks are constructed and seen, generating specific challenges for collectors, curators, and conservators alike. This book is primarily directed at undergraduates interested in art history, museum studies, and conservation, but will also be of interest to a more general non-specialist audience.
Reconstructing Performance Art
This book investigates the practices of reconstructing and representing performance art and their power to shape this art form and our understanding of it. Performance art emerged internationally between the 1960s and 1970s crossing disciplinary boundaries between performing arts and visual arts. Because of the challenge it posed to the ontologies and paradigms of these fields, performance art has since stimulated an ongoing debate on the most appropriate means to document, preserve and display it. Tancredi Gusman brings together international scholars from different disciplinary fields to examine methods, media, and approaches by which this art form has been represented and (re)activated ov...
Documentation as Art
Documentation as Art presents documentation as an expanded practice that is radically changing the ways in which to look at, participate in, and generate art. Bringing together expertise from different disciplines, the book provides an in-depth investigation of the development of documentation as a set of production, circulation, and preservation strategies. Illustrating how these are often led by artists, audiences, and museums, the contributions offer new insights into digital art and its history, curation, and preservation, through documentation. Considering documentation as the main method of preserving these art forms, the book analyses how it can address the inherent challenges of capt...
