Conservation of Contemporary Art : : Bridging the Gap Between Theory and Practice.

• Superior document: Studies in Art, Heritage, Law and the Market Series ; v.9.
• Author: Vall, Renée van de, 1956-
• TeilnehmendeR: Saaze, Vivian van, 1975-
• Place / Publishing House: Cham : : Springer International Publishing AG,, 2024.; ©2024.
• Year of Publication: 2024
• Edition: First edition.
• Language: English
• Series: Studies in art, heritage, law and the market.
• Physical Description: 1 online resource (393 pages)

Table of Contents

Intro -- Acknowledgements -- Contents -- Introduction to the Volume -- 1 Theorizing Conservation as a Reflective Practice -- 2 The Identity of the Art Object -- 3 Professional Roles and Identities: Conservators, Curators and Artists -- 4 Documentation and Decision-Making in Theory and Practice -- 5 The Role of Research in the Art Museum -- References -- Part I: Theorizing Conservation as a Reflective Practice -- Artworks in Art Museums -- 1 Theories of Practices and Art -- 2 Approaching Artworks in Art Museums Through Practices -- 3 Artworks and Social Change -- References -- Doing Ethics in Practice: SBMK Platform Meetings -- 1 SBMK Platform Meetings -- 2 Hout Auto -- 3 The Platform Meetings as a Form of Ethical Deliberation -- 4 Techniques of Deliberation -- 5 Towards an Ethics of Care -- References -- Part II: The Identity of the Art Object -- The Enfolding Object of Conservation: Artwork Identity, Authenticity, and Documentation -- 1 Introduction -- 2 Beyond Score Compliance Authenticity -- 3 The ``View from Nowhere´´: Essentialism, Centring, and Representation -- 4 Case Study: Susan Philipsz´s You Are Not Alone -- 5 The View from Within: Rethinking Documentation Practices -- 6 Conclusion -- References -- When Old Was New: Rethinking Traditional and Contemporary Art and Their Paradigms of Care -- 1 Introduction -- 2 Divergent Paths -- 3 No Longer Material -- 4 No Longer Fixed in Time -- 5 ``Things not Necessarily Meant to be Viewed as Art´´ -- 6 A Contemporizing Paradigm -- 7 Conclusion -- References -- Languages of Conservation: A Comparison Between Internet-Based Art and Built Heritage -- 1 Introduction -- 2 Method -- 3 Characteristics of TraceNoizer (2001-2004) and the Eiffel Tower (1887-1889) -- 4 Conservation Strategies for Built Heritage Applied to Internet-Based Art -- 4.1 Adaptive Reuse-``Function Follows Form´´.

4.1.1 Visibility of Conservation Interventions -- 4.2 Re-Arch Approach or Reinterpretation Based on the Combination of Old and New Materials -- 4.3 Reconstruction -- 5 Conclusions -- References -- No Longer Artwork -- 1 Introduction -- 2 Managing Change -- 3 Flat-ontology System, Time, and Presence -- 4 Intensities of Time and Presence -- 5 Constructions in Space -- 6 Appearance of Other Objects: A Complex Object Family -- 7 Objects, Changes, Absence, Presence -- 8 Conclusion -- References -- Part III: Professional Roles and Identities: Conservators, Curators, and Artists -- Visible Issues. Insights Into the Professional Identity of the Conservator -- 1 Introduction -- 2 Methodology -- 3 Professional Identity, a Complex Concept -- 4 Conservators´ Professional Identity-A First Look -- 5 From the Hand to the Mind: The Dominance of Science and the Emergence of a Professional Identity -- 6 Contemporary Art Conservation -- 7 The Contemporary Art Museum: Knowledge, Collaboration and Communication -- 8 Roles, Visibility, Agency -- 9 Conclusion -- References -- Conceptual Art and Conservation -- 1 Introduction -- 2 Autoethnographic Encounter -- 3 Autoethnography and Object Biography -- 4 Conceptual Art Statements -- 5 Conceptual Art and Museum Practices -- 6 Certificate and Paradox -- 7 Conservator and Curator -- 8 Contemporary Art Conservation -- 9 Conclusion -- References -- Reinstalling Thomas Hirschhorn´s Doppelgarage (2002): Bridging Gaps Between Theory, Practice and Emotion in the Preservation o... -- 1 Introduction -- 2 Doppelgarage at Pinakothek der Moderne: A Chronology -- 2.1 The Artwork -- 2.2 Transfer of Knowledge to the Museum Professionals -- 2.3 Decision-Making 2016 -- 2.4 Reinstallation 2016 -- 3 Bridging Gaps -- 3.1 In the Grey Zone of Theoretical Frameworks -- 3.2 Finger Memory and Documentation-``Knowing How´´ and ``Knowing That´´.

3.3 The Conservator´s Changing Role -- 4 Conclusion -- References -- The Increasing Role of Artists´ Estates in the Preservation of Contemporary Art -- 1 Introduction -- 2 Anna Oppermann´s Estate: The Early Phase -- 3 Artist´s Estates as Sites of Knowledge -- 4 Instituent Potential -- References -- Part IV: Documentation and Decision-Making in Theory and Practice -- Documenting Hybrid Mixed Media Art Forms: The Role of the Audience -- 1 Introduction -- 2 Blast Theory, Day of the Figurines (2006) -- 3 Blast Theory, Rider Spoke (2007) -- 4 Musée de la Danse, If Tate Modern was Musée de la Danse? (2015) -- 5 The Cartography Project Prototype (2016-17) -- 6 Towards an Audience Documentation Framework -- References -- Sharing Knowledge in Art Conservation: From Repository Building to Research Publishing -- 1 Introduction -- 2 Setting Ground for Sharing Knowledge in Contemporary Art Conservation -- 3 International Network for the Conservation of Contemporary Art -- 4 INCCA Database -- 5 The Impact of Cultural Policies on INCCA´s Changing Forms of Collaboration -- 6 From Building Repository to Research Publishing -- 7 Conclusion -- References -- Collections of (An)archives: Towards a New Perspective on Institutional Collecting of Contemporary Art and the Object of Conse... -- 1 Introduction -- 2 Documentation in a Museum Collection Context and Challenges Related to Documenting Contemporary Art -- 3 The Art Object as Document and Documented: Shifting Our Perspective on the Notion of Contemporary Artwork Documentation -- 4 Merging Collection and Archive, Artworks and Documents: Radical Institutional Practices -- 5 The Museum Collection as a Collection of (An)archives -- 6 Conclusion -- References -- Decision-Making for the Conservation and Presentation of Thermoelectronic Chewing Gum (1970), a Political Environment by Wolf ... -- 1 Introduction.

2 Two Decision-Making Models in Conservation -- 3 Reasons for Further Revision -- 4 The Revised Model and the Concept of Perspectivism -- 5 The Case Study: Thermoelectronic Chewing Gum -- 5.1 Step 1: Point of Departure -- 5.1.1 Circumstances -- 5.1.2 Initial Aim -- 5.1.3 Stakeholders, Intentions and Overarching Goal -- 5.2 Step 2: Data Generation and Registration -- 5.2.1 Description(s) of the Artwork -- 5.2.2 History of the Work -- 5.3 Step 3: Current State (Condition) -- 5.3.1 Space and Interaction -- 5.3.2 The Suitcases -- 5.3.3 Transmitter Microphone, Receiver and Playback System -- 5.4 Step 4: Desired State (Meaning) -- 5.5 Step 5: Discrepancy? -- 5.5.1 The Suitcases -- 5.5.2 The Chewing Gum Component -- 5.6 Step 6: Conservation and Presentation Options -- 5.6.1 Space and Interaction -- 5.6.2 The Suitcases -- 5.6.3 Transmitter Microphone, Receiver and Playback Technology -- 5.7 Step 7: Considerations -- 5.7.1 Space and Interaction -- 5.7.2 The Suitcases -- 5.7.3 Transmitter Microphone, Receiver and Playback Technology -- 5.8 Step 8: Conservation and Presentation Strategy -- 6 Conclusions -- References -- Part V: The Role of Research in the Art Museum -- The Living Process of Conserving Performance: Theory and Practice in the Conservation of Performance-Based Artworks at Tate -- 1 Introduction -- 2 A Brief Look into the Conservation of Performance -- 3 A Dialogue Between Theory and Practice -- 4 Conservation of Performance Art at Tate: Bridging Practice and Theory -- 5 Redefining Boundaries, Rehearsing New Models -- 5.1 The Reverse Collection, Tarek Atoui, 2016 -- 5.2 Your Face Is/Is Not Enough, Kevin Beasley, 2016 -- 6 Between Theory and Practice -- 7 Conclusion -- References -- Integrating Front-of-House with Behind-the-Scenes Practice in Contemporary Art Conservation -- 1 Introduction.

2 The Biographical Approach to Conservation and the Exhibition Life Phase of an Artwork -- 3 Opportunities of Participant Observation and Ethnography for Museum Research and Practice -- 3.1 What Is Ethnography? -- 3.2 Museum Ethnography and the Rise of Ethnographic Methods in Conservation -- 3.3 A Distinction: Ethnography of and for Conservation -- 4 Case Study Application: Take Me (I´m Yours) at Pirelli HangarBicocca -- 4.1 Behind-the-Scenes -- 4.2 Front-of-House -- 5 An Expanded Role for Guards, Invigilators and Cultural Mediators -- 6 Continuous Collections Care -- 7 Summary -- References -- Is Trust Enforceable? The Conservation of Contemporary Artworks from a Socio-legal Perspective -- 1 Introduction -- 2 Contracts, Ethical Norms and Trust in the Artworld -- 2.1 Resistance to Contracts -- 2.2 Norms and Guidelines for the Conservation of Contemporary Art -- 2.3 Trust and Control -- 3 Contractual Arrangements as a Mechanism to Manage Expectations -- 3.1 Safeguarding a Work´s Integrity -- 3.2 The Role of Executants as (Co-)Authors in the Realisation or Installation of a Conceptual Artwork -- 4 Conclusions -- Treaties -- Professional Ethical Codes -- Cases -- References -- Making Time -- 1 Introduction -- 2 Timescapes -- 3 The Timescapes of the Contemporary Art Museum -- 4 Timescape of Works of Art -- 5 Conservation, Maintenance and Repair -- 6 Conclusion -- References.