The Challenges of Conserving Contemporary Art

Wharton, Glenn

doi:10.1515/9781400849352.163

Cited by 13 publications

(10 citation statements)

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“…interviews or dialogue with the live artists as to the preservation of their artwork. Some researchers already bring attention to the importance of having an active dialogue between the artist's intentions and those directly enacting preservation, however the idea should be more widespread among all involved [Cone 2002, Depocas et al 2004, Wharton and Molotcht 2009, Ippolito 2001, Laurenson 2006, Mancusi-Ungaro 1999, Muñoz-Viñas 2013, Serexhe 2013, Sterrett 2009, Stringari 1999, Wharton 2005, Wharton 2013, Wharton, 2016.…”

Section: Materiality Versus Intentionmentioning

confidence: 99%

Artistic Concerns in Preservation

Albuquerque

2019

SDH

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The rise of new technologies in the twenty-first century is accompanied by challenges in arts preservation that underscore the need to constantly adapt to new ways of approaching preservation issues. This article investigates the problems in preserving digitally-born cultural heritage and explores the connections between digital cultural heritage and preservation of digitally-born artwork. At the core of this study is the question of how to deal with and preserve digital cultural heritage in the changing world of technology, following a case study model with an emphasis on practical research. The results suggest that while the importance of preventing damage is crucial, further investigations are needed in order to fully treat issues concerning the accurate representation of the artist's intention.

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Section: Materiality Versus Intentionmentioning

confidence: 99%

Artistic Concerns in Preservation

Albuquerque

2019

SDH

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“…Yet, numerous other types of contemporary artworks also alter in appearance and require some kind of intervention by the museum to enable their continued display. For many of these artworks the notion of art as a 'fixed' material object becomes highly problematic as change is built in their conceptual framework and/or is a necessary condition for their perpetuation (Weil 1992;Depocas, Ippolito and Jones 2003;Wharton 2005;Irvin 2006;Laurenson 2006). What, then, does it mean for a work of art if, for example, its components have been replaced or altered, or if its visual appearance has been adapted to new surroundings?…”

Section: On Changes and Challengesmentioning

confidence: 99%

“…In this respect, theory and practice, to say the least, do not always converge. What guides conservation decisions is referred to as 'conservation theory' shaped by ethical codes, guidelines, controversies, conferences and a growing body of literature (Wharton 2005). Ethical and professional standards, so-called 'codes of ethics', have been developed by professional bodies such as the European Confederation of Conservator-Restorers' Organisation (ECCO), the International Council of Museums -Committee for Conservation (ICOM-CC), the American Institute for Conservation (AIC) and the United Kingdom Institute for Conservation (UKIC).…”

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confidence: 99%

Installation Art and the Museum : Presentation and Conservation of Changing Artworks

van¹

2013

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This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative initiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe.

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“…Dada la compleja naturaleza de estas obras, su inherente variabilidad y su dependencia de las tecnologías que se quedan obsoletas rápidamente, la conservación parece no disponer de un conjunto claro de principios o sistema de valores que guíen las decisiones de conservación, y los conservadores tienen que encontrar otros modelos para orientarse (p.e. Real, 2001;Buskirk, 2003;Barker y Bracker, 2005;Wharton, 2005;Laurenson, 2006;Weyer, 2006;Hummelen y Scholte, 2006;Scholte y Te Brake-Baldock, 2007;Wharton y Molotch, 2009;Scholte, 2011;van Saaze, 2013a y otros muchos).…”

Section: Introductionunclassified

Documentando dilemas. Sobre la relevancia de los casos éticamente ambiguos

Vall

2017

sinobj

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ResumenEste artículo sostiene que la documentación proporciona un mejor servicio a la conservación de arte contemporáneo cuando no solo recopila y registra información sobre las obras, sino que también recoge los dilemas a los que los conservadores han tenido que enfrentarse al tomar decisiones sobre sus estrategias de conservación. La razón es que, en las últimas dos décadas, una práctica cada vez más reflexiva ha favorecido una situación en la que están emergiendo nuevos paradigmas éticos que sirven para diferentes tipos de trabajos artísticos y sus diferentes lógicas de perpetuación. El artículo propone tres paradigmas diferentes con sus correspondientes casos paradigmáticos, argumentando que solo un método de deliberación ética "caso-a-caso" (ética casuística) servirá para articular una serie de principios y directrices adecuados a los más recientes paradigmas. Para posibilitar esta deliberación, se hace necesario documentar los dilemas éticos en la conservación. Además, la mayoría de los casos resultarán bastante conflictivos, dado que muchas obras de arte consisten en la unión heterogénea de objetos, ideas y prácticas, con sus propias lógicas diferenciadas de perpetuación, mientras otras se mueven entre distintas lógicas, o pasan de una lógica a otra en el transcurso de sus biografías. Por tanto, la documentación de los dilemas continuará siendo necesaria para facilitar un acercamiento casuístico a la hora de tomar decisiones con responsabilidad y desarrollar un cuerpo de experiencia profesional.Palabras clave: Arte contemporáneo, teoría de la conservación, ética casuística, paradigma de la conservación científica, paradigma de la performance, paradigma procesual. AbstractThis paper argues that documentation best serves the conservation of contemporary art when it does not only collect and record information about the work, but also the dilemmas conservators have felt themselves confronted with when deciding their conservation strategy. The reason is that in the last two decades, in and through evolving and reflective practice, a situation has arisen in which new ethical paradigms are emerging, appropriate for different types of work and different logics of perpetuation. The paper outlines three different paradigms with corresponding paradigmatic cases, arguing that only a case-by-case method of ethical deliberation (casuist ethics) will help articulating the appropriate principles and guidelines for the newer paradigms. Documentation of conservation-ethical dilemmas is needed to enable this deliberation. Moreover, most cases will remain rather messy, many artworks consisting of heterogeneous assemblages of objects, ideas and practices that all imply their own logic of perpetuation, other artworks hovering between logics, or passing from one logic to another in the course of their biographies. Therefore the documentation of dilemmas will continue to be required to facilitate a casuist approach to taking responsible decisions and developing a body of professional experience.

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The Challenges of Conserving Contemporary Art

Cited by 13 publications

References 1 publication

Artistic Concerns in Preservation

Artistic Concerns in Preservation

Installation Art and the Museum : Presentation and Conservation of Changing Artworks

Documentando dilemas. Sobre la relevancia de los casos éticamente ambiguos

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