{"title":"Reframing the Notion of “The Artist’s Intent:” A Study of Caring for Thomas Hirschhorn’s Intensif-Station (2010)","authors":"Nina Quabeck","doi":"10.1080/01971360.2020.1826151","DOIUrl":null,"url":null,"abstract":"ABSTRACT Museums are increasingly responsible for the care of highly complex artworks that are often co-produced, co-curated and co-conserved. The preservation of many artworks no longer hinges solely on the endurance of original materials, and as such, conservators are compelled to embrace the active life of these works. This paper studies Thomas Hirschhorn’s ongoing involvement with his work Intensif-Station (2010) over time and assesses the collaborations between artist and museum staff through the eyes of the conservator. By investigating the biography of this immersive artwork composed of rapidly degrading materials meant not to decay and perish but to persist, tangible material questions prompted conservators to probe “the artist’s intent.” Could the much-problematized notion be reframed as an open-ended process?","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"60 1","pages":"77 - 91"},"PeriodicalIF":0.7000,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2020.1826151","citationCount":"2","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of the American Institute for Conservation","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/01971360.2020.1826151","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 2
Abstract
ABSTRACT Museums are increasingly responsible for the care of highly complex artworks that are often co-produced, co-curated and co-conserved. The preservation of many artworks no longer hinges solely on the endurance of original materials, and as such, conservators are compelled to embrace the active life of these works. This paper studies Thomas Hirschhorn’s ongoing involvement with his work Intensif-Station (2010) over time and assesses the collaborations between artist and museum staff through the eyes of the conservator. By investigating the biography of this immersive artwork composed of rapidly degrading materials meant not to decay and perish but to persist, tangible material questions prompted conservators to probe “the artist’s intent.” Could the much-problematized notion be reframed as an open-ended process?
期刊介绍：
The American Institute for Conservation is the largest conservation membership organization in the United States, and counts among its more than 3000 members the majority of professional conservators, conservation educators and conservation scientists worldwide. The Journal of the American Institute for Conservation (JAIC, or the Journal) is the primary vehicle for the publication of peer-reviewed technical studies, research papers, treatment case studies and ethics and standards discussions relating to the broad field of conservation and preservation of historic and cultural works. Subscribers to the JAIC include AIC members, both individuals and institutions, as well as major libraries and universities.
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